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FORD 



THE BROKEN HEART 



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LIBRARY OF CONGRESS, 







SlielfUBX.... 

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UNITED STATES OF AMERICA. ' 



THE BROKEN HEART 



JOHN FORD 



EDITED WITH 

NOTES AND INTRODUCTION 



CLINTON SCOLLARD 

Professor of English Literature in Hamilton College 




(&j o ii Y 



NEW YORK 

HENRY HOLT AND COMPANY 
1805 






/ u / 



Copyright, 1894, 

BY 

HENRY HOLT & CO. 



THE MERSHON COMPANY PRESS, 
RAHWAY, N. J. 



INTRODUCTION. 



i. 

The most patient and persistent search into the 
lives of the old English dramatists is often but 
meagerly rewarded. Wide and perplexing gaps must 
be filled by the imagination, or, as it were, a fitting 
garment of fancy fashioned for the bare and broken 
skeleton of fact. Such is the case with John Ford. 
The dramatist was the second son of Thomas Ford, 
his mother being the sister of John Popham, Lord 
Chief Justice under James I. The Ford family was 
one of good standing in Devonshire, where, at Ilsing- 
ton, John Ford was baptized on the 17th of April, 
1586. What schooling he had was obtained in or 
near his native town. If he went to either of the great 
universities he could hardly have remained more than 
one or two terms, for he was enrolled as a member of 
the Middle Temple in November, 1602. Popham had 
been appointed treasurer of this organization twenty 
years earlier, and it has been conjectured that he 
took an active interest in his young relative. A cousin 
and namesake had preceded the poet in London as a 
member of Gray's Inn, and between the two there 
appears to have existed an intimacy and affection 
almost brotherly. Though he retained his connection 



IV INTRODUCTION. 

with the Temple, there is no evidence to show that 
Ford was ever called to the bar. In addressing his 
patrons, several of whom were men of rank, he not 
infrequently alludes to his determination not to allow 
his ambitions as a dramatist to interfere with his 
regular occupation. From this it is seen that he did 
not depend upon play-writing for support. It has 
been inferred that he looked after the legal interests 
of large landed estates, doubtless acting as advisor in 
matters requiring a knowledge of jurisprudence. A 
line in the prologue to the comedy, Fancies Chaste 
and Noble \ has led some to conclude that at the time 
the play was produced the author was probably travel- 
ing upon the Continent, but there is no proof that he 
ever crossed the Channel. In regard to his retirement 
from London, and his death, nothing very satisfactory 
can be stated. It is commonly affirmed that he with- 
drew from the Temple in 1639, and that he then 
sought his native town, having amassed a considerable 
fortune, and thinking to pass the remainder of his life 
in quiet. According to one tradition he married and 
had children, but this is hardly to be credited. The 
troublous times which followed his withdrawal from 
the active world obscured much that otherwise would 
be clear. It is quite possible that Ford was in his 
grave before the oncoming of these evil days, but if 
he was not, the stress of events was sufficient to veil 
the close of his life, like that of many another, in 
oblivion. 

Of the dramatist's personality almost nothing is 
known. Because his fancy led him to the choice of 
somber themes it has been assumed that he was of 



IiYTR OD UC TION. V 

a melancholy temperament. This idea has been 
strengthened by the often quoted couplet from a con- 
temporary rhymer : 

" Deep in a dump John Ford was alone got (gat). 
With folded arms and melancholy hat." 

This, however, may have been intended simply as 
a caricature. The idea that an early love-affair, re- 
ferred to in Fames Memorial, may have influenced 
him deeply, and induced a settled moodiness, may, 
with safety, be dismissed. Poets, and especially 
young poets, have always been prone to prate of 
their imaginary blighted hopes, and Ford's " flint- 
hearted Lycia " probably caused him little more than 
a passing pang, if, in fact, she ever actually existed. 
But that Ford's mind was of a serious cast his curious 
little manual for every day conduct, The Line of Life, 
abundantly proves. He appears to have been upon 
reasonably good terms with his fellow playwrights 
and poets, as several commendatory verses upon his 
plays by such men as Crashaw and Shirley are extant, 
and Ford himself was one of those who burst into 
mourning song at the death of Ben Jonson, whom he 
saw fit to style " the best of English poets." 

II. 

Although Ford may be said to represent the 
period of dramatic decline, it is indeed a splendid 
decadence that can boast of such plays as Massinger's 
Maid of Honour, Shirley's Traitor, and Ford's Broken 
Heart. Compared with the best work of the Restora- 



VI INTRODUCTION. 

tion playwrights these dramas are of the very highest 
order. It is only when we contrast them with the 
plays of the master dramatist of all time that their 
true middle position is established. 

So far as we know, Ford first challenged public 
recognition as a poet in 1606 with his fame's Memo- 
rial, an elegiac poem of considerable length upon 
Charles Blount, Earl of Devonshire. Why the young 
poet singled out this nobleman for the subject of his 
ingenious stanzas we cannot say. Blount, though 
a man of much prominence, had died in disgrace, and 
it does not appear that Ford was acquainted either 
with him or with the countess to whom he dedicated 
his elegiacs in a hopelessly involved acrostic, " the 
worst," according to Gifford, u that ever passed the 
press." There is nothing whatever here to presage 
the future dramatist. A command of measure and 
of poetic phraseology indicates, however, that the 
author had served his apprenticeship. According to 
the dramatist's own statement his play, The Lover's 
Melancholy, published in 1629, was " the first of his 
that ever courted reader." But during the twenty- 
three years that intervened between the appearance 
of Fame's Memorial and this piece, he certainly had 
been heard upon the stage, if not read in the closet. 
Indeed it is highly probable that his name, though 
in conjunction with others, had been seen upon the 
title-page of dramas now lost. There are extant 
seven plays entirely of Ford's composition, and an 
additional two in which he assisted, Decker being his 
collaborator in one instance, and Rowley and Decker 
in the other. At least four more are entered under 



IN TROD UCTION. VI I 

his name upon the Stationer's books, and the titles of 
three others in which he had a hand have been pre- 
served. Assuming that these dramas constitute the 
entire bulk of his labors (which is not probable), we 
have, by which to judge him, something more than 
half of his actual production. On the theory, perhaps, 
of the survival of the fittest, it has been argued that the 
best of his work has come down to us, and it may be 
that this is a safe presumption. 

Ford's masterpiece is unquestionably The Broken 
Heart, and whether it merits the somewhat extrava- 
gant praise bestowed upon it by Charles Lamb, it 
certainly sets before us in a vivid way some of the 
most powerful human emotions : love, sorrow, hatred, 
and despair. Fewer of the dramatist's prevailing faults 
are here evident than in any other of his plays save 
Perkin Warbeck. He may not rise to such heights in 
single scenes, or in detached passages, as elsewhere, 
but in general effect he is more harmonious and pow- 
erful. " Mock pathos " is one of the most serious 
charges that has been urged against Ford, and though 
it be granted that in some instances the tenderness 
may seem strained, and the agony prolonged with melo- 
dramatic intent, these objections do not hold against 
the portrayal of the sorrows of Calantha and the 
woes of Penthea. In the prologue the dramatist is 
careful to state that the story 

" When Time's youth 
Wanted some riper years, was known a Truth." 

It is, however, certain that he did not draw the tale 
from historical sources. Prolific as Sparta may have 



vin INTRODUCTION. 

been in tragedies, it never was the scene of this one. 
If, as Ford says, the incidents were not of his own in- 
vention, he doubtless found them, or the suggestions 
from which the plot grew, in the now lost romance 
of some Spanish or Italian writer. What seems not 
improbable is that, like many another author since, he 
sought to add to the effect of his fiction by boldly 
claiming a basis of fact for it. At least he merits high 
praise for the elaboration, the skillful fitting together, 
the general working out of the whole. He expended 
much more pains upon details than was common with 
him. The subordinate characters are more fully and 
carefully developed, and the scenes follow one another 
with a more natural sequence. Then, too, the mo- 
ments of passion, of the poet's fine frenzy, are more 
frequent than in other plays. There is far less that is 
evidently studied. Ford is not a poet who often gives 
us the impression of having struck off a scene or an 
act at white heat. We are too likely to feel that his 
is the work of the cunning craftsman who has weighed 
and calculated the effect of word, line, and passage. 
But this is not so in the case of The Broken Heart. 
Here there is something more than the most perfect 
artifice, that fine touch of the emotions of which we are 
so frequently and so thrillingly conscious in reading 
Shakespere, and which we too often just miss in 
Ford. 

Ford's other tragedies, ' Tis Pity She's a Whore and 
Love's Sacrifice, are not likely to attract the casual 
reader, but to the student of the dramatist both are 
interesting. Unfortunate in title and revolting in 
subject as is the first-named play, it is not fair to 



IN TROD UCTION. IX 

Ford for us to allow our natural prejudice against it 
to obscure its manifest merits. The drama unques- 
tionably contains some of the author's strongest writ- 
ing. The story, taken, like that of Loves Sacrifice, 
from an Italian source, tells of a brother and sister 
who conceive a mad passion for one another, and 
abandon themselves with what Jeffrey calls " a splen- 
did and perverted devotedness " to their unlawful 
loves. Ultimately the sister is forced into marriage, 
and the husband discovers his wife's guilt. What 
could arise from so horrible a situation save despair, 
frenzy, and murder ? — a fitting close for so dreadful 
a chapter of events. The question likely to suggest 
itself after the perusal of this awful tragedy is — should 
such a succession of scenes be made the subject of 
the playwright's art ? It has been said, " better no 
dramas at all than those with such disgusting themes ! " 
an opinion with which one is inclined to concur. Yet 
it must be granted that Ford has managed the plot 
both with dexterity and dignity, considering the 
delicate matter he has in hand. While we turn from 
Giovanni with repulsion and loathing, toward the un- 
fortunate and distracted Arabella our sympathies are 
unconsciously drawn. In the scene where the sister 
meets death from her brother's dagger the dramatist 
reaches the climax of tragic power. No passage from 
any of the old playwrights, save certain memorable 
ones in Shakespere and two or three in Webster, 
conveys more of what might be termed the inevitable- 
ness of doom than this. 

Few graces save those of expression are discover- 
able in Love's Sacrifice, while all of Ford's most prom- 



X INTRODUCTION. 

inent faults are evident. On Bianca, the most con- 
spicuous female character, not a little false sentiment 
is wasted. Though not in act a traitor to her husband, 
she certainly is so at heart, yet toward the close of the 
play she is spoken of as living " a life of innocence 
and beauty. " The whole situation is inconceivable. 
A woman, at first represented as deeply attached to 
her husband, suddenly and without apparent reason 
is seized with a violent infatuation for another. The 
other, up to this moment fervent and ardent in the 
protestations of his passion, is all at once as " chaste 
as ice." The husband's jealousy is basely aroused, 
and a sanguinary sequel is the result. Not only is the 
main thread of this play exceedingly ill-woven, but 
the tangled underplot, in which Ford is rarely fortu- 
nate, is here more than usually lacking in refinement. 
Perkin Warbeck y Ford's one history or chronicle 
play, stands easily second to The Broken Heart in 
clearness of outline, carefulness of detail, and com- 
pleteness of general conception. It is one of the few 
dramas of its class that will bear comparison with 
Shakespere's matchless transcripts from the actual 
life of the past. The hero is the best male character 
we have from Ford's pen. Whatever the young pre- 
tender to the English throne may really have been, 
we behold, in the dramatist's portrait of him, a noble 
youth of single purpose, who believes implicity in his 
right to the crown, and who goes to his death main- 
taining that right. There is no inconsistency in the 
poet's picture. Warbeck enlists our sympathies at the 
outset, and our interest in him never flags through all 
his vicissitudes until he gives up his life on Tower Hill. 



INTRODUCTION. XI 

We are not surprised that the charming Lady Kath- 
erine listens so readily to his avowals, for in him 
appear to be united the gallantry of the lover, the 
dignity of the rightful sovereign, and the tenderness 
and valiant manliness of the true gentleman. Here, 
too, as in Ford's masterpiece, the lesser characters are 
well defined — the just and genial Huntley, the leal 
and brave Daryell, the vacillating Scotch monarch, 
all, in fact, show the same painstaking execution. 
This is a canvas whose minor, as well as whose major, 
figures will bear the closest scrutiny. 

Of Ford's three romantic comedies The Lover's 
Melancholy is clearly the best ; and while the play is 
by no means a strong one, there is much about it 
that is singularly attractive. In spite of the slight 
reminiscences it betrays of Beaumont and Fletcher's 
Philaster, there is but little exaggeration in the state- 
ment that here Ford has met and equaled his brother 
dramatists in their own chosen field. It would seem 
as though the poet had deliberately, at times, retarded 
the rapid development of the plot in order to beautify 
the story. Nowhere else does Ford give a hint of 
what he might have accomplished had he attempted 
narrative verse writing. His apparently keen sense 
of the romantic surprises us ; not so, however, his 
touches of pathos, though these are of a far softer 
and less harrowing nature than in The Broken Heart. 
Insanity was something that most of the Elizabethans 
from Kyd downward were fond of attempting to por- 
tray, and sorry work many of them made of it. 
Ford can hardly be said to approach Shakespere in 
this particular, or possibly even Webster in that 



Xll IN TROD UCTION. 

notable scene in The White Devil (Cornelia at the 
bier of Marcello), but Penthea demented is not so 
far removed from Ophelia, and old Meleander in The 
Lover s Melancholy, with mind unbalanced through 
grief at the supposed death of his favorite daughter, is 
vastly above the ordinary stage madman. The chief 
male characters in this play lack stamina, and are 
little better than lackadaisical, moon-struck lovers. 
Ford's genius was not of the masculine type like that 
of Massinger. Except Perkin Warbeck, and a few 
others, his men are either coxcombs or weaklings, 
somehow wanting in strong moral force. It is in the 
delineation of the female character that we find Ford 
in his element. His knowledge of the motives, the 
springs of action, that move the feminine heart was 
both deep and intimate. Among the most attractive 
of his women are the sisters Eroclea and Cleophila in 
The Lover's Melancholy. Neither, strictly speaking, 
is of the heroic mold, but both are thoroughly 
natural and charming. Eroclea, in spite of her 
youth's disguise and her assumed mannishness, is 
naive and fascinating, with a dash of real bravery, 
while Cleophila's devotion to her insane father is 
especially touching. A different quality of devotion, 
and one that excites our admiration more keenly, is 
that shown by Katherine Gordon to her husband, 
Perkin Warbeck. Whatever the world may say of 
him, her belief in his truth and honor is not to be 
shaken, and he goes to his execution strengthened by 
her loving faith. Penthea's patient endurance and 
Calantha's sublime stoicism combine to make " a 
monument of sorrows " that has few counterparts on 



IN TROD UCTION. Xlll 

the pages of tragedy. Arabella, despite the terrible 
character of her guilt, moves to pity, and even in 
Bianca, Ford's one signal failure in his portrayal of 
femineity, when we have once accepted the impossible 
change that comes over her, there is something finely 
daring. It is a misguided heroism which leads her to 
tell her husband to his face that, while she is true to 
him, she holds Fernando infinitely above him as a 
man, but it is heroism nevertheless. To the gallery 
of Ford's heroines two others might be added, Spinella 
from The Lady's Trial and Castamela from Fancies 
Chaste and Noble, characters whose purity and charm 
serve to relieve the dullness of two poorly con- 
structed and otherwise objectionable plays. Ford's 
conception of woman was upon a vastly higher plane 
than the view taken of her by his contemporaries, and 
it is only in the pages of Shakespere that we meet 
with braver, more refined, and loftier types. 

Gifford's characterization of Ford's humor as "a 
dull medley of extravagance and impurity " is not 
inapt. Surely poet never wrote who lacked to a 
greater degree the true sense of the humorous, yet 
who persisted in introducing characters intended to 
be comic. In some of the plays the alleged comical- 
ities are not offensive, as in the case of the rival 
lovers, Guzman and Fulgoso, in The Ladys Trial. 
Their fun consists in strutting both with legs and 
tongue, and in berating one another most roundly 
when they can find no one else to abuse. Too often, 
however, inoffensive is a term that cannot be ap- 
plied to Ford's intended pleasantries. The dramatist 
who could end the death agonies of several of his most 



XIV INTRODUCTION. 

prominent characters with a long drawn out " O — O " 
must have been quite as sadly lacking in the sense of 
the ridiculous as the noted seer and singer who wrote : 

" Only the ass with motion dull 
Upon the pivot of his skull 

Turned round his long left ear." 

Ford's diction is uniformly felicitous. Unless it be 
Beaumont and Fletcher, no dramatists of his day 
have a greater grace of phrase. He caught from 
Shakespere, perhaps, the art of vivifying a whole 
paragraph by a single daring metaphor or verbal 
transposition, erring sometimes in taste, to be sure, 
but generally effecting his end. Even into the 
mouths of some of his most senseless comic char- 
acters he occasionally puts such happy turns of 
expression as these : 

"Her fair eyes 
Like to a pair of pointed beams drawn from 
The sun's most glorious orb, do dazzle sight, 
Audacious to gaze there : then over those 
A several bow of jet securely twines 
In semicircles; under them two banks 
Of roses red and white, divided by 
An arch of polished ivory, surveying 
A temple from whence oracles proceed 
More gracious than Apollo's, more desired 
Than amorous songs of poets, softly tuned." 

Ford's rendering of the classical legend of the 
musical strife between the nightingale and the musi- 
cian, introduced into the first act of The Lover s 
Melancholy^ will further serve to illustrate the rare 



INTRODUCTION. XV 

harmony and beauty of diction of which he was 
capable : 

" One morning early 
This accident encountered me : I heard 
The sweetest and most ravishing contention 
That art and nature ever were at strife in. 

A sound of music touched my ears, or rather 
Indeed entranced my soul. As I stole nearer, 
Invited by the melody, I saw 
This youth, this fair-faced youth, upon his lute, 
With strains of strange variety and harmony, 
Proclaiming, as it seemed, so bold a challenge 
To the clear choristers of the woods, the birds, 
That, as they flocked about him, all stood silent. 

... A nightingale, 
Nature's best-skilled musician, undertakes 
The challenge, and for every several strain 
The well-shaped youth could touch, she sung her own : 
He could not run division with more art 
Upon his quaking instrument than she, 
The nightingale, did with her various notes 
Reply to : ... 

Some time thus spent, the young man grew at last 
Into a pretty anger, that a bird, 
Whom art had never taught clefs, moods, or notes, 
Should vie with him for mastery, whose study 
Had busied many hours to perfect practice : 
To end the controversy, in a rapture 
Upon his instrument he plays so swiftly, 
So many voluntaries and so quick, 
That there was curiosity and cunning, 
Concord in discord, lines of differing method 
Meeting in one full center of delight. 

. . . The bird, ordained to be 
Music's first martyr, strove to imitate 
These several sounds ; which when her warbling throat 
Failed in, for grief down dropped she on his lute, 
And brake her heart. It was the quaintest sadness, 



XVI IN TROD UC TION. 

To see the conqueror upon her hearse 
To weep a funeral elegy of tears ; 

He looked upon the trophies of his art, 
Then sighed, then wiped his eyes, then sighed and cried, 
' Alas, poor creature ! I will soon revenge 
This cruelty upon the author of it ; 
Henceforth this lute, guilty of innocent blood, 
Shall never more betray a harmless peace 
To an untimely end : ' and in that sorrow, 
And as he was pashing it against a tree, 
I suddenly stept in." 

Though Winstanley states that Ford's plays were 
profitable to the managers of the theaters where they 
were produced, it is difficult to believe that he was 
ever a popular writer. In the garden of his fancy he 
cultivated too many mournful blossoms, the rue, the 
night-shade, and the 

44 Amaranth, flower of Death." 

The ways of sorrow he made his own, and the 
children of grief were his familiars. Where the forest 
shades of woe were deepest the sound of that delicate 
instrument, his lute, was natural, plaintive, melan- 
choly, pity-evoking, but in the mirthful sunlight it 
was too often strained and out of tune. We can but 
think of Ford's muse as of one sad-eyed and lorn, 

" Like Niobe, all tears." 

Touching at certain points, now Shakespere, now 
Marston, now Beaumont and Fletcher, and most 
resembling the gloom-enshrouded Webster in the 
bent of his genius, he yet stands apart from them all, 
an isolated figure, wrapped in the mantle of his darkly 
contemplative temperament. 



Thou cheat'st us, Ford : mak'st one seem two by art : 
What is Love's Sacrifice but the Broken Heart ? 

Richard Crashaw. 



PROLOGUE. 

Our scene is Sparta, He whose best of art 
Hath drawn this piece calls it The Broken Heart, 
The title lends no expectation here 
Of apish laughter, or of some lame jeer 
At place or persons ; no pretended clause 5 

Of jests fit for a brothel court's applause 
From vulgar admiration : such low songs, 
Tuned to unchaste ears, suit not modest tongues. 
The virgin-sisters then deserved fresh bays 
When innocence and sweetness crowned their lavs ; 
Then vices gasped for breath, whose whole com- 
merce 11 
Was whipped to exile by unblushing verse. 
This law we keep in our presentment now, 
Xot to take freedom more than we allow ; 
What may be here thought Fiction, when Time's youth 
Wanted some riper years, was known a Truth : 16 
In which, if words have clothed the subject right, 
You may partake a pity with delight. 



DRAMATIS PERSONS, 

Amyclas, King of Laconia. 
Ithocles, a Favourite. 
Orgilus, Son of Crotolon. 
Bassanes, a jealous Nobleman. 
Armostes, a Counsellor of State. 
Crotolon, another Counsellor. 
Prophilus, Friend of Ithocles. 
Nearchus, Prince of Argos. 
Tecnicus, a Philosopher. 
Hemophil, 



S, J 



,■ Courtiers. 
Groneas 

Amelus, Friend of Nearchus. 

Phulas, Servant to Bassanes. 

Lords, Courtiers, Officers, Attendants, &c. 

Calantha, Daughter of Amyclas. 

Penthea, Sister of Ithocles and Wife of Bassanes. 

Euphranea, Daughter of Crotolon, a Maid of honour. 

Christalla, ) m , ., 

^ y Maids of honour. 

Philema, ) 

Grausis, Overseer of Penthea. 

SCENE— Sparta. 



THE BROKEN HEART. 



ACT THE FIRST. 

Scene I. A Room in Crotolon's House. 

Entej' Crotolon and Orgilus. 

Crot. Dally not further ; I will know the reason 
That speeds thee to this journey. 

Org. Reason ! good sir, 

I can yield many. 

Crot. Give me one, a good one ; 

Such I expect, and ere we part must have : 
Athens ! pray, why to Athens ? you intend not 5 

To kick against the world, turn cynic, stoic, 
Or read the logic-lecture, or become 
An Areopagite, and judge in cases 
Touching the commonwealth ; for, as I take it, 
The budding of your chin cannot prognosticate 10 
So grave an honour. 

Org. All this I acknowledge. 

Crot. You do ! then, son, if books and love of 
knowledge 
Inflame you to this travel, here in Sparta 
You may as freely study. 

Org. 'Tis not that, sir. 



6 THE BROKEN HEART. 

Crot. Not that, sir ! As a father, I command thee 
T' acquaint me with the truth. 

Org. Thus I obey ye. 16 

After so many quarrels as dissension, 
Fury, and rage had broached in blood, and sometimes 
With death to such confederates as sided 
With now-dead Thrasus and yourself, my lord ; 20 
Our present king, Amyclas, reconciled 
Your eager swords and sealed a gentle peace ; 
Friends you professed yourselves ; which to confirm, 
A resolution for a lasting league 
Betwixt your families was entertained, 25 

By joining in a Hymenean bond 
Me and the fair Penthea, only daughter 
To Thrasus. 

Crot. What of this ? 

Org. Much, much, dear sir. 

A freedom of converse, an interchange 
Of holy and chaste love, so fixed our souls 30 

In a firm growth of union, that no time 
Can eat into the pledge : we had enjoyed 
The sweets our vows expected, had not cruelty 
Prevented all those triumphs we prepared for, 
By Thrasus his untimely death. 

Crot. Most certain. 35 

Org. From this time sprouted-up that poisonous 
stalk 
Of aconite, whose ripened fruit hath ravished 
All health, all comfort of a happy life ; 
For Ithocles, her brother, proud of youth, 
And prouder in his power, nourished closely 40 



ACT I. SCENE I. 7 

The memory of former discontents, 

To glory in revenge. By cunning partly, 

Partly by threats, he woos at once, and forces 

His virtuous sister to admit a marriage 

With Bassanes, a nobleman, in honour 45 

And riches, I confess, beyond my fortunes. 

Crot. All this is no sound reason to importune 
My leave for thy departure. 

Org. Now it follows 

Beauteous Penthea, wedded to this torture 
By an insulting brother, being secretly 50 

Compelled to yield her virgin freedom up 
To him, who never can usurp her heart, 
Before contracted mine, is now so joked 
To a most barbarous thraldom, misery, 
Affliction, that he savours not humanity, 55 

Whose sorrow melts not into more than pity 
In hearing but her name. 

Crot. As how, pray ? 

Org. Bassanes, 

The man that calls her wife, considers truly 
What heaven of perfections he is lord of 
By thinking fair Penthea his : this thought 60 

Begets a kind of monster-love, which love 
Is nurse unto a fear so strong and servile 
As brands all dotage with a jealousy : 
All eyes who gaze upon that shrine of beauty 
He doth resolve do homage to the miracle ; 65 

Some one, he is assured, may now or then, 
If opportunity but sort, prevail : 
So much, out of a self-unworthiness, 



5 THE BROKEN HEART. 

His fears transport him ; not that he finds cause 

In her obedience, but his own distrust. 70 

Crot. You spin out your discourse. 

Org. My griefs are violent : 

For, knowing how the maid was heretofore 
Courted by me, his jealousies grow wild 
That I should steal again into her favours, 
And undermine her virtues ; which the gods 75 

Know I nor dare nor dream of. Hence, from hence, 
I undertake a voluntary exile ; 
First, by my absence to take off the cares. 
Of jealous Bassanes ; but chiefly, sir, 
To free Penthea from a hell on earth ; 80 

Lastly, to lose the memory of something 
Her presence makes to live in me afresh. 

Crot. Enough, my Orgilus, enough. To Athens, 
I give a full consent. — Alas, good lady ! — 
We shall hear from thee often ? 

Org. Often. 

Crot. See, 85 

Thy sister comes to give a farewell. 

Enter Euphranea. 

Euph. Brother ! 

Org. Euphranea, thus upon thy cheeks I print 
A brother's kiss ; more careful of thine honour, 
Thy health, and thy well-doing, than my life. 
Before we part, in presence of our father, 90 

I must prefer a suit t' ye. 

Euph. You may style it, 

My brother, a command. 



ACT I. SCENE I. 9 

Org. That you will promise 

Never to pass to any man, however 
Worthy, your faith, till, with our father's leave, 
I give a free consent. 

Crot. An easy motion ! 95 

I'll promise for her, Orgilus. 

Org. Your pardon ; 

Euphranea's oath must yield me satisfaction. 

Euph. By Vesta's sacred fires I swear. 

Crot. And I, 

By great Apollo's beams, join in the vow, 
Not without thy allowance to bestow her 100 

On any living. 

Org. Dear Euphranea, 

Mistake me not : far, far 'tis from my thought, 
As far from any wish of mine, to hinder 
Preferment to an honourable bed 
Or fitting fortune ; thou art young and handsome ; 
And 'twere injustice, — more, a tyranny, — 106 

Not to advance thy merit : trust me, sister, 
It shall be my first care to see thee matched 
As may become thy choice and our contents. 
I have your oath. 

Euph. You have. But mean you, brother, 

To leave us, as you say ? 

Crot. Ay, ay, Euphranea : n 1 

He has just grounds direct him. I will prove 
A father and a brother to thee. 

Euph. Heaven 

Does look into the secrets of all hearts : 
Gods, you have mercy with ye, else — 



io THE BROKEN HEART. 

Crot. Doubt nothing ; 115 

Thy brother will return in safety to us. 

Org. Souls sunk in sorrows never are without 'em ; 
They change fresh airs, but bear their griefs about 'em. 

[Exeunt. 

Scene II. A Room in the Palace. 

Flourish. Enter Amyclas, Armostes, Prophilus, 
Courtiers, and Attendants. 

Amy. The Spartan gods are gracious ; our humility 
Shall bend before their altars, and perfume 
Their temples with abundant sacrifice. 
See, lords, Amyclas, your old king, is entering 
Into his youth again ! I shall shake off 5 

This silver badge of age, and change this snow 
For hairs as gay as are Apollo's locks ; 
Our heart leaps in new vigour. 

Arm. May old time 

Run back to double your long life, great sir ! 

Amy. It will, it must, Armostes : thy bold nephew, 
Death-braving Ithocles, brings to our gates 11 

Triumphs and peace upon his conquering sword. 
Laconia is a monarchy at length ; 
Hath in this latter war trod under foot 
Messene's pride ; Messene bows her neck 15 

To Lacedaemon's royalty. O, 'twas 
A glorious victory, and doth deserve 
More than a chronicle — a temple, lords, 
A temple to the name of Ithocles. — 
Where didst thou leave him, Prophilus ? 

Pro. At Pephon, 20 



ACT I. SCENE II. II 

Most gracious sovereign ; twenty of the noblest 
Of the Messenians there attend your pleasure, 
For such conditions as you shall propose 
In settling peace, and liberty of life. 

Amy. When comes your friend the general ? 

Pro. He promised 

To follow with all speed convenient. 26 

Enter Calantha, Euphranea ; Christalla and 
Philema with a garland j and Crotolon. 

Amy. Our daughter ! — Dear Calantha, the happy 
news, 
The conquest of Messene, hath already 
Enriched thy knowledge. 

Cat. With the circumstance 

And manner of the fight, related faithfully 30 

By Prophilus himself. — But, pray, sir, tell me 
How doth the youthful general demean 
His actions in these fortunes? 

Pro. Excellent princess, 

Your own fair eyes may soon report a truth 
Unto your judgment, with what moderation, 35 

Calmness of nature, measure, bounds, and limits 
Of thankfulness and joy, he doth digest 
Such amplitude of his success as would 
In others, moulded of a spirit less clear, 
Advance 'em to comparison with heaven : 40 

But Ithocles — 

Cal. Your friend — 

Pro. He is so, madam, 

In which the period of my fate consists : 



12 THE BROKEN HEART. 

He, in this firmament of honour, stands 

Like a star fixed, not moved with any thunder 

Of popular applause or sudden lightning 45 

Of self-opinion ; he hath served his country, 

And thinks 'twas but his duty. 

Crot. You describe 

A miracle of man. 

Amy. Such, Crotolon, 

On forfeit of a king's word, thou wilt find him. — 

\_Flourish. 
Hark, warning of his coming ! all attend him. 50 

Enter Ithocles, ushered in by the Lords, and folloived 
by Hemophil and Groneas. 

Return into these arms, thy home, thy sanctuary, 
Delight of Sparta, treasure of my bosom, 
Mine own, own Ithocles ! 

1th. Your humblest subject. 

Arm. Proud of the blood I claim an interest in, 
As brother to thy mother, I embrace thee, 55 

Right noble nephew. 

Ith. Sir, your love's too partial. 

Crot. Our country speaks by me, who by thy valour, 
Wisdom, and service, shares in this great action ; 
Returning thee, in part of thy due merits, 
A general welcome. 

////. You exceed in bounty. 60 

Cat. Christalla, Philema, the chaplet. [Takes the 
chaplet from them.~\ — I thocles, 
Upon the wings of fame the singular 



ACT I. SCENE II. 13 

And chosen fortune of an high attempt 

Is borne so past the view of common sight, 

That I myself with mine own hands have wrought, 65 

To crown thy temples, this provincial garland : 

Accept, wear, and enjoy it as our gift 

Deserved, not purchased. 

Ith. You're a royal maid. 

Amy. She is in all our daughter. 

Ith. Let me blush, 

Acknowledging how poorly I have served, 70 

What nothings I have done, compared with the 

honours 
Heaped on the issue of a willing mind ; 
In that lay mine ability, that only ; 
For who is he so sluggish from his birth, 
So little worthy of a name or country, 75 

That owes not out of gratitude for life 
A debt of service, in what kind soever 
Safety or counsel of the commonwealth 
Requires, for payment ? 

Gal. He speaks truth. 

Ith. Whom heaven 

Is pleased to style victorious, there to such 80 

Applause runs madding, like the drunken priests 
In Bacchus' sacrifices, without reason 
Voicing the leader-on a demi-god ; 
Whenas, indeed, each common soldier's blood 
Drops down as current coin in that hard purchase 85 
As his whose much more delicate condition 
Hath sucked the milk of ease ; judgment commands, 
But resolution executes. I use not, 



14 THE BROKEN HEART. 

Before this royal presence, these fit slights 

As in contempt of such as can direct ; 90 

My speech hath other end ; not to attribute 

All praise to one man's fortune, which is strengthened 

By many hands : for instance, here is Prophilus, 

A gentleman — I cannot flatter truth — 

Of much desert ; and, though in other rank, 95 

Both Hemophil and Groneas were not missing 

To wish their country's peace ; for, in a word, 

All there did strive their best, and 'twas our duty. 

Amy. Courtiers turn soldiers ! — We vouchsafe our 
hand. 

[Hemophil and Groneas kiss his hand. 
Observe your great example. 

Hem. With all diligence. 

Gro. Obsequiously and hourly. 

Amy. Some repose 10 1 

After these toils is needful. We must think on 
Conditions for the conquered ; they expect 'em. 
On ! — Come, my Ithocles. 

Euph. Sir, with your favour, 

I need not a supporter. 

Pro. Fate instructs me. 105 

[Exit Amyclas attended, Ithocles, Ca- 

lantha, etc. As Christalla and Phi- 

lema are following Calantha they are 

detained by Hemophil and Groneas. 

Chris. With me ? 

Phil Indeed I dare not stay. 



ACT I. SCEXE II. 15 

Hem. Sweet lady. 

Soldiers are blunt, — your lip. [Kisses her. 

Chris. Fie, this is rudeness : 

You went not hence such creatures. 

Gro. Spirit of valour 

Is of a mounting nature. 

Phil. It appears so. — 

In earnest, pray, how many men apiece no 

Have you two been the death of ? 

Gro. 'Faith, not many ; 

We were composed of mercy. 

Hem. For our daring, 

You heard the general's approbation 
Before the king. 

Chris. You " wished your country's peace "; 

That showed your charity: where are your spoils, 115 
Such as the soldier fights for ? 

Phil. They are coming. 

Chris. By the next carrier, are they not ? 

Gro. Sweet Philema, 

When I was in the thickest of mine enemies, 
Slashing off one man's head, another's nose, 
Another's arms and legs, — 

Phil, And all together. 120 

Gro. Then would I with a sigh remember thee, 
And cry " Dear Philema, 'tis for thy sake 
I do these deeds of w r onder ! " — dost not love me 
With all thy heart now ? 

Phil. Now as heretofore. 



1 6 THE BROKEN HEART, 

I have not put my love to use ; the principal 125 

Will hardly yield an interest. 

Gro. By Mars, 

I'll marry thee ! 

Phil. By Vulcan, you're forsworn, 

Except my mind do alter strangely. 

Gro. One word. 

Chris. You lie beyond all modesty : — forbear me. 

Hem. I'll make thee mistress of a city ; 'tis 130 
Mine own by conquest. 

Chris. By petition ; sue for't 

In forma pauperis. — City ! kennel. — Gallants ! 
Off with your feathers, put on aprons, gallants ; 
Lear to reel, thrum, or trim a lady's dog, 
And be good quiet souls of peace, hobgoblins ! 135 

Hem. Christalla ! 

Chris. Practise to drill hogs, in hope 

To share in the acorns. — Soldiers ? corncutters, 
But not so valiant ; they ofttimes draw blood, 
Which you durst never do. When you have practised 
More wit or more civility, we'll rank ye 140 

I' the list of men ; till then, brave things-at-arms, 
Dare not to speak to us, — most potent Groneas ! — 

Phil. And Hemophil the hardy ! — at your services. 
[Exeunt Christalla and Philema. 

Gro. They scorn us, as they did before we went. 

He?n. Hang 'em ! let us scorn them, and be 
revenged. 145 

Gro. Shall we ? 



ACT I. SCENE III. 17 

Hem. We will : and when we slight them thus, 

Instead of following them, they'll follow us ; 
It is a woman's nature. 

Gro. 'Tis a scurvy one. [Exeunt. 

Scene III. The Gardens of the Palace. A Grove. 

Enter Tecnicus, and Orgilus disguised like one of 
his Scholars. 

Tec. Tempt not the stars ; young man, thou canst 
not play 
With the severity of fate : this change 
Of habit and disguise in outward view 
Hides not the secrets of thy soul within thee 
From their quick-piercing eyes, which dive at all times 
Down to thy thoughts : in thy aspect I note 6 

A consequence of danger. 

Org. Give me leave, 

Grave Tecnicus, without foredooming destiny, 
Under thy roof to ease my silent griefs, 
By applying to my hidden wounds the balm 10 

Of thy oraculous lectures. If my fortune 
Run such a crooked by-way as to wrest 
My steps to ruin, yet thy learned precepts 
Shall call me back and set my footings straight. 
I will not court the world. 

Tec. Ah, Orgilus, 15 

Neglects in young men of delights and life 
Run often to extremities ; they care not 
For harms to others who contemn their own. 

Org. But I, most learned artist, am not so much 



1 8 THE BROKEN HEART. 

At odds with nature that I grudge the thrift 20 

Of any true deserver ; nor doth malice 

Of present hopes so check them with despair 

As that I yield to thought of more affliction 

Than what is incident to frailty : wherefore 

Impute not this retired course of living 25 

Some little time to any other cause 

Than what I justly render, — the information 

Of an unsettled mind ; as the effect 

Must clearly witness. 

Tec. Spirit of truth inspire thee ! 

On these conditions I conceal thy change, 30 

And willingly admit thee for an auditor. — 
I'll to my study. 

Org. I to contemplations 

In these delightful walks. [Exit Tecnicus. 

Thus metamorphosed, 
I may without suspicion harken after 
Penthea's usage and Euphranea's faith. 35 

Love, thou art full of mystery ! the deities 
Themselves are not secure in searching out 
The secrets of those flames, which, hidden, waste 
A breast made tributary to the laws 
Of beauty : physic yet hath never found 40 

A remedy to cure a lover's wound. — 
Ha ! who are those that cross yon private walk 
Into the shadowing grove in amorous foldings ? 

Prophilus passes by, supporting Euphranea and 
whispering. 
My sister ! O, my sister ! 'tis Euphranea 
With Prophilus : supported too ! I would 45 



ACT I. SCENE III. 19 

It were an apparition ! Prophilus 

Is Ithocles his friend : it strangely puzzles me. 

Re-enter Prophilus and Euphranea. 

Again ! help me, my book ; this scholar's habit 
Must stand my privilege : my mind is busy, 
Mine eyes and ears are open. 

[ Walks aside, pretending to read. 

Pro. Do not waste 50 

The span of this stol'n time, lent by the gods 
For precious use, in niceness. Bright Euphranea, 
Should I repeat old vows, or study new, 
For purchase of belief to my desires,— 

Org. [aside] Desires ! 

Pro. My service, my integrity, — 

Org. [aside] That's better. 

Pro. I should but repeat a lesson 

Oft conned without a promptor but thine eyes : 
My love is honourable. 

Org. [aside] So was mine 

To my Penthea, chastely honourable. 

Pro. Nor wants there more addition to my wish 
Of happiness than having thee a wife ; 61 

Already sure of Ithocles, a friend 
Firm and unalterable. 

Org. [aside] But a brother 

More cruel than the grave. 

Euph. What can you look for, 

In answer to your noble protestations, 65 

From an unskilful maid, but language suited 
To a divided mind ? 



20 THE BROKE A 7 HEART. 

Org. [aside] Hold out, Euphranea ! 

Euph. Know, Prophilus, I never undervalued, 
From the first time you mentioned worthy love, 
Your merit, means, or person : it had been 70 

A fault of judgment in me, and a dulness 
In my affections, not to weigh and thank 
My better stars that offered me the- grace 
Of so much blissfulness. For, to speak truth, 
The law of my desires kept equal pace 75 

With yours ; nor have I left that resolution : 
But only, in a word, whatever choice 
Lives nearest in my heart must first procure 
Consent both from my father and my brother, 
Ere he can own me his. 

Org. [aside] She is forsworn else. 80 

Pro. Leave me that task. 

Euph. My brother, ere he parted 

To Athens, had my oath. 

Org. [aside] Yes, yes, he had, sure. 

Pro. I doubt not, with the means the court sup- 
plies, 
But to prevail at pleasure. 

Org. [aside] Very likely ! 

Pro. Meantime, best, dearest, I may build my 
hopes 85 

On the foundation of thy constant sufferance 
In any opposition. 

Euph. Death shall sooner 

Divorce life and the joys I have in living 
Than my chaste vows from truth. 



ACT I. SCENE III. 2 1 

Pro. On thy fair hand 

I seal the like. 

Org. [aside'] There is no faith in woman. 90 

Passion, O, be contained ! my very heart-strings 
Are on the tenters. 

Euph. We are overheard. 

Cupid protect us! 'twas a stirring, sir, 
Of some one near. 

Pro. Your fears are needless, lady ; 

None have access into these private pleasures 95 

Except some near in court, or bosom-student 
From Tecnicus his oratory, granted 
By special favour lately from the king 
Unto the grave philosopher. 

Euph. Methinks 

I hear one talking to himself, — I see him. 100 

Pro. 'Tis a poor scholar, as I told you, lady. 

Org. [aside] I am discovered — [half aloud to him- 
self as if studying] Say it ; is it possible, 
With a smooth tongue, a leering countenance/ 
Flattery, or force of reason — I come t'ye, sir — 
To turn or to appease the raging sea ? 105 

Answer to that. — Your art ! what art ? to catch 
And hold fast in a net the sun's small atoms ? 
No, no ; they'll out, they'll out ; ye may as easily 
Outrun a cloud driven by a northern blast 
As fiddle-faddle so! Peace, or speak sense. no 

Euph. Call you this thing a scholar ? 'las, he's 

lunatic. 
Pro. Observe him, sweet ; 'tis but his recreation. 



2 2 THE BROKEN HEART. 

Org. But will you hear a little ? You're so tetchy, 
You keep no rule in argument : philosophy 
Works not upon impossibilities, 115 

But natural conclusions. — Mew! — absurd! 
The metaphysics are but speculations 
Of the celestial bodies, or such accidents 
As not mixed perfectly, in the air engendered, 
Appear to us unnatural ; that's all. 120 

Prove it ; yet, with a reverence to your gravity, 
I'll balk illiterate sauciness, submitting 
My sole opinion to the touch of writers. 

Pro. Now let us fall in with him. 

[ They come forward. 

Org. Ha, ha, ha! 

These apish boys, when they but taste the gram- 
mates 125 
And principles of theory, imagine 
They can oppose their teachers. Confidence 
Leads many into errors. 

Pro. By your leave, sir. 

Euph. Are you a scholar, friend ? 

Org. I am, gay creature, 

With pardon of your deities, a mushroom 130 

On whom the dew of heaven drops now and then ; 
The sun shines on me too, I thank his beams! 
Sometime I feel their warmth ; and eat and sleep. 

Pro. Does Tecnicus read to thee ? 

Org. Yes, forsooth, 

He is my master surely ; yonder door 135 

Opens upon his study. 



ACT I SCENE III 2 3 

Pro. Happy creatures! 

Such people toil not, sweet, in heats of state. 
Nor sink in thaws of greatness; their affections 
Keep order with the limits of their modesty ; 
Their love is love of virtue. — What's thy name ? 140 

Org. Aplotes, sumptuous master, a poor wretch. 

Euph. Dost thou want anything ? 

Org. Books, Venus, books. 

Pro. Lady, a new 7 conceit comes in my thought, 
And most available for both our comforts. 

Euph. My lord, — 

Pro. Whiles I endeavour to deserve 145 

Your father's blessing to our loves, this scholar 
May daily at some certain hours attend, 
What notice I can write of my success, 
Here in this grove, and give it to your hands ; 
The like from you to me : so can we never, 150 

Barred of our mutual speech, want sure intelligence, 
And thus our hearts may talk when our tongues 
cannot. 

Euph. Occasion is most favourable ; use it. 

Pro. Aplotes, wilt thou wait us twice a day, 
At nine i' the morning and at four at night, 155 

Here in this bower, to convey such letters 
As each shall send to other? Do it willingly, 
Safely, and secretly, and I will furnish 
Thy study, or what else thou canst desire. 

Org. Jove, make me thankful, thankful, I beseech 
thee, 160 



24 THE BROKEN HEART. 

Propitious Jove ! I will prove sure and trusty : 
You will not fail me books ? 

Pro. Nor aught besides 

Thy heart can wish. This lady's name's Euphranea, 
Mine Prophilus. 

Org. I have a pretty memory ; 

It must prove my best friend. I will not miss 165 
One minute of the hours appointed. 

Pro, Write 

The books thou wouldst have bought thee in a note, 
Or take thyself some money. 

Org. No, no money ; 

Money to scholars is a spirit invisible, 
We dare not finger it : or books, or nothing. 170 

Pro. Books of what sort thou wilt : do not forget 
Our names. 

Org. . I warrant ye, I warrant ye. 

Pro. Smile, Hymen, on the growth of our desires ; 
We'll feed thy torches with eternal fires ! 

[Exeunt Prophilus and Euphranea. 

Org, Put out thy torches, Hymen, or their light 
Shall meet a darkness of eternal night ! 176 

Inspire me, Mercury, with swift deceits. 
Ingenious Fate has leapt into mine arms, 
Beyond the compass of my brain. Mortality 
Creeps on the dung of earth, and cannot reach 180 
The riddles which are purposed by the gods. 
Great arts best write themselves in their own stories ; 
They die too basely who outlive their glories. [Exit. 



ACT THE SECOND. 

Scene I. A Room in Bassanes' House. 
Enter Bassanes and Phulas. 

Bass. I'll have that window next the street dammed 
up ; 
It gives too full a prospect to temptation, 
And courts a gazer's glances ; there's a lust 
Committed by the eye, that sweats and travails, 
Plots, wakes, contrives, till the deformed bear-whelp, 
Adultery, be licked into the act, 6 

The very act : that light shall be dammed up ; 
D'ye hear, sir ? 

Phu. I do hear, my lord ; a mason 

Shall be provided suddenly. 

Bass. Some rogue, 

Some rogue of your confederacy,— factor 10 

For slaves and strumpets ! — to convey close packets 
From this spruce springal and the t'other youngster ; 
That gaudy earwig, or my lord your patron, 
Whose pensioner you are. — I'll tear thy throat out, 
Son of a cat, ill-looking hound's head, rip-up 15 

Thy ulcerous maw, if I but scent a paper, 
A scroll, but half as big as what can cover 
A wart upon thy nose, a spot, a pimple, 
Directed to my lady ; it may prove 
A mystical preparative to lewdness. 20 



26 THE BROKEN HEART. 

Phu. Care shall be had ; I will turn every thread 
About me to an eye. — [Aside] Here's a sweet life ! 

Bass. The city housewives, cunning in the traffic 
Of chamber merchandise, set all at price 
By wholesale ; yet they wipe their mouths and 
simper, 25 

Cull, kiss, and cry " sweetheart," and stroke the head 
Which they have branched ; and all is well again ! 
Dull clods of dirt, who dare not feel the rubs 
Stuck on their foreheads. 

Phu. 'Tis a villainous world ; 

One cannot hold his own in't. 

Bass. Dames at court, 30 

Who flaunt in riots, run another bias ; 
Their pleasure heaves the patient ass that suffers 
Up on the stilts of office, titles, incomes ; 
Promotion justifies the shame, and sues for't. 
Poor honour, thou art stabbed, and bleed'st to death 
By such unlawful hire ! The country mistress 36 
Is yet more wary, and in blushes hides 
Whatever trespass draws her troth to guilt. 
But all are false : on this truth I am bold, 
No woman but can fall, and doth, or would. — 40 

Now for the newest news about the city ; 
What blab the voices, sirrah ? 

Phu. O, my lord, 

The rarest, quaintest, strangest, tickling news 
That ever — 

Bass. Hey-dey ! up and ride me, rascal ! 

What is't ? 

Phu. Forsooth, they say the king has mewed 45 



ACT II. SCENE /. 27 

All his gray beard, instead of which is budded 
Another of a pure carnation colour, 
Speckled with green and russet. 

Bass. Ignorant block ! 

Phil. Yes, truly ; and 'tis talked about the streets, 
That since Lord Ithocles came home, the lions 50 
Never left roaring, at which noise the bears 
Have danced their very hearts out. 

Bass. Dance out thine too. 

Phu. Besides, Lord Orgilus is fled to Athens 
Upon a fiery dragon, and 'tis thought 
He never can return. 

Bass. Grant it, i\pollo ! 55 

Phu. Moreover, please your lordship, 'tis reported 
For certain, that whoever is found jealous 
AVithout apparent proof that's wife is wanton 
Shall be divorced : but this is but she-news ; 
I had it from a midwife. I have more yet. 6c 

Bass. Antic, no more ! idiots and stupid fools 
Grate my calamities. Why to be fair 
Should yield presumption of a faulty soul — 
Look to the doors. 

Phu. The horn of plenty crest him ! 

[Aside and exit. 

Bass. Swarms of confusion huddle in my thoughts 
In rare distemper. — Beauty ! O, it is 66 

An unmatched blessing or a horrid curse. 
She comes, she comes ! so shoots the morning forth, 
Spangled with pearls of transparent dew. — 
The way to poverty is to be rich, 70 



28 THE BROKEN HEART. 

As I in her am wealthy ; but for her, 
In all contents a bankrupt. 

Enter Penthea and Grausis. 

Loved Penthea ! 
How fares my heart's best joy ? 

Grau. In sooth, not well, 

She is over-sad. 

Bass. Leave chattering, magpie. — 

Thy brother is returned, sweet, safe and honoured 
With a triumphant victory ; thou shalt visit him : 76 
We will to court, where, if it be thy pleasure, 
Thou shalt appear in such a ravishing lustre 
Of jewels above value, that the dames 
Who brave it there, in rage to be outshined, 80 

Shall hide them in their closets, and unseen 
Fret in their tears ; whiles every wondering eye 
Shall crave none other brightness but thy presence. 
Choose thine own recreations ; be a queen 
Of what delights thou fanciest best, what company, 85 
What place, what times ; do anything, do all things 
Youth can command, so thou wilt chase these clouds 
From the pure firmament of thy fair looks. 

Grau. Now 'tis well said, my lord. — What, lady ! 
laugh, 
Be merry ; time is precious. 

Bass, [aside] Furies whip thee ! 90 

Pen. Alas,my lord, this language to your hand-maid 
Sounds as would music to the deaf ; I need 
No braveries nor cost of art to draw 
The whiteness of my name into offense : 



ACT II. SCENE I. 29 

Let such, if any such there are, who covet 95 

A curiosity of admiration, 

By laying-out their plenty to full view, 

Appear in gaudy outsides ; my attires 

Shall suit the inward fashion of my mind ; 

From which, if your opinion, nobly placed, 100 

Change not the livery your words bestow, 

My fortunes with my hopes are at the highest. 

Bass. This house, methinks, stands somewhat too 
much inward, 
It is too melancholy ; we'll remove 
Nearer the court : or what thinks my Penthea 105 
Of the delightful island we command ? 
Rule me as thou canst wish. 

Pen. I am no mistress : 

Whither you please, I must attend ; all ways 
Are alike pleasant to me. 

Grdu. Island ! prison ; 

A prison is as gaysome : we'll no islands ; no 

Marry, out upon 'em ! whom shall we see there ? 
Sea-gulls, and porpoises, and water-rats, 
And crabs, and mews, and dog-fish ; goodly gear 
For a young lady's dealing, — or an old one's ! 
On no terms islands ; I'll be stewed first. 

Bass, [aside to Grausis] Grausis, 115 

You are a juggling bawd. — This sadness, sweetest, 
Becomes not youthful blood. — [Aside to Grausis] I'll 

have you pounded. — 
For my sake put on a more cheerful mirth ; 
Thou'lt mar thy cheeks, and make me old in griefs. — 
[Aside to Grausis] Damnable bitch-fox ! 



3° THE BROKEN HEART, 

Grau. I am thick of hearing, 120 

Still, when the wind blows southerly. — What think ye, 
If your fresh lady breed young bones, my lord ! 
Would not a chopping boy d'ye good at heart ? 
But, as you said — 

Bass, [aside to Grausis] I'll spit thee on a stake, 
Or chop thee into collops ! 

Grau. Pray, speak louder. 125 

Sure, sure the wind blows south still. 

Pen. Thou prat'st madly. 

Bass. 'Tis very hot ; I sweat extremely. 

Re-enter Phulas. 

Now? 
Phu. A herd of lords, sir. 
Bass. Ha ! 

Phu. A flock of ladies. 

Bass. Where ? 

Phu. Shoals of horses. 

Bass. Peasant, how ? 

Phu. Caroches 

In drifts ; the one enter, the other stand without, sir : 
And now I vanish. [Exit. 

Enter Prophilus, Hemophil, Groneas, Christalla, 
and Philema. 

Pro. Noble Bassanes ! 131 

Bass. Most welcome, Prophilus ; ladies, gentle- 
men, 
To all my heart is open ; you all honour me, — 



ACT II. SCENE I. 3 1 

[Aside] A tympany swells in my head already. — 
Honour me bountifully. — [Aside] How they flutter, 
Wagtails and jays together ! 

Pro. From your brother 136 

By virtue of your love to him, I require 
Your instant presence, fairest. 

Pen. He is well, sir ? 

Pro. The gods preserve him ever ! Yet, dear 
beauty, 
I find some alteration in him lately, 140 

Since his return to Sparta. — My good lord, 
I pray, use no delay. 

Bass. We had not needed 

An invitation, if his sister's health 
Had not fall'n into question. — Haste, Penthea, 
Slack not a minute. — Lead the way, good Prophilus ; 
I'll follow, step by step. 

Pro. Your arm, fair madam. 146 

[Exeunt all but Bassanes and Grausis. 

Bass. One word with your old bawdship : th' 
hadst been better 
Railed at the sins thou worshipp'st than have 

thwarted 
My will : I'll use thee cursedly. 

Grau. You dote, 

You are beside yourself. A politician 150 

In jealousy ? no, you're too gross, too vulgar. 
Pish, teach not me my trade ; I know my cue : 
My crossing you sinks me into her trust, 
By which I shall know all ; my trade's a sure one. 



32 THE BROKEN HEART. 

Bass. Forgive me, Grausis, 'twas consideration 
I relished not ; but have a care now. 

Grau. Fear not, 156 

I am no new-come-to't. 

Bass. Thy life's upon it, 

And so is mine. My agonies are infinite. [Exeunt. 

Scene II. The Palace. Ithocles' Apartment. 

Enter Ithocles. 

Ith. Ambition! 'tis of vipers' breed : it gnaws 
A passage through the womb that gave it motion. 
Ambition, like a seeled dove, mounts upward, 
Higher and higher still, to perch on clouds, 
But tumbles headlong down with heavier ruins. 5 

So squibs and crackers fly into the air, 
Then, only breaking with a noise, they vanish 
In stench and smoke. Morality applied 
To timely practice, keeps the soul in tune, 
At whose sweet music all our actions dance : 10 

But this is formed of books and school-tradition ; 
It physics not the sickness of a mind 
Broken with griefs : strong fevers are not eased 
With counsel, but with best receipts and means ; 
Means, speedy means and certain ; that's the cure. 15 

Enter Armostes and Crotolon. 

Arm. You stick, Lord Crotolon, upon a point 
Too nice and too unnecessary ; Prophilus 
Is every way desertful. I am confident 
Your wisdom is too ripe to need instruction 
From your son's tutelage. 



ACT II. SCENE II. 33 

Crot. Yet not so ripe, 20 

My Lord Armostes, that it dare to dote 
Upon the painted meat of smooth persuasion, 
Which tempts me to a breach of faith. 

Ith. Not yet 

Resolved, my lord ? Why, if your son's consent 
Be so available, we'll write to Athens 25 

For his repair to Sparta : the king's hand 
Will join with our desires ; he has been moved to't. 

Arm. Yes, and the king himself importuned Cro- 
tolon 
For a dispatch. 

Crot. Kings may command ; their wills 

Are laws not to be questioned. 

Ith. By this marriage 30 

You knit an union so devout, so hearty, 
Between your loves to me and mine to yours, 
As if mine own blood had an interest in it ; 
For Prophilus is mine, and I am his. 

Crot. My lord, my lord!— 

Ith. What, good sir ? speak your thought. 

Crot. Had this sincerity been real once, 36 

My Orgilus had not been now unwived, 
Nor your lost sister buried in a bride-bed : 
Your uncle here, Amostes, knows this truth ; 
For had your father Thrasus lived, — but peace 40 
Dwell in his grave! I've done. 

Arm. You're bold and bitter. 

Ith. [aside] He presses home the injury ; it 
smarts. — 



34 THE BROKEN HEART. 

No reprehensions, uncle ; I deserve 'em, 

Yet, gentle sir, consider what the heat 

Of an unsteady youth, a giddy brain, 45 

Green indiscretion, flattery of greatness, 

Rawness of judgment, wilfulness in folly, 

Thoughts vagrant as the wind and as uncertain, 

Might lead a boy in years to : — 'twas a fault, 

A capital fault ; for then I could not dive 50 

Into the secrets of commanding love ; 

Since when experience, by the extremes in others, 

Hath forced me collect — and, trust me, Crotolon, 

I will redeem those wrongs with any service 

Your satisfaction can require for current. 55 

Arm. The acknowledgment is satisfaction : 
What would you more ? 

Crot. I'm conquered : if Euphranea 

Herself admit the motion, let it be so ; 
I doubt not my son's liking. 

////. Use my fortunes, 

Life, power, sword, and heart, — all are your own. 60 

Arm. The princess, with your sister. 

Enter Calantha, Penthea, Euphranea, Chris- 
talla, Philema, Grausis, Bassanes, and 
Prophilus. 

Cal. I present ye 

A stranger here in court, my lord ; for did not 
Desire of seeing you draw her abroad, 
We had not been made happy in her company. 

Ith. You are a gracious princess. — Sister, wedlock 
Holds too severe a passion in your nature, 66 



ACT II. SCENE II. 35 

Which can engross all duty to your husband, 
Without attendance on so dear a mistress. — 
[To Bassanes] Tis not my brother's pleasure, I 

presume, 
T'immure her in a chamber. 

Bass. 'Tis her will ; 70 

She governs her own hours. Noble Ithocles, 
We thank the gods for your success and welfare : 
Our lady has of late been indisposed, 
Else we had waited on you with the first. 

Ith. How does Penthea now ? 

Pen. You best know, brother, 75 

From whom my health and comforts are derived. 

Bass, [aside'] I like the answer well ; 'tis sad and 
modest. 
There may be tricks yet, tricks. — Have an eye, 
Grausis ! 

CaL Now, Crotolon, the suit we joined in must 
not 
Fall by too long demur. 

Crot. 'Tis granted, princess, 80 

For my part. 

Arm. With condition, that his son 

Favour the contract. 

Cal. Such delay is easy. — 

The joys of marriage make thee, Prophilus, 
A proud deserver of Euphranea's love, 
And her of thy desert ! 

Pro. Most sweetly gracious ! 85 

Bass. The joys of marriage are the heaven on earth, 



3 6 THE BROKEN HEART. 

Life's paradise, great princess, the soul's quiet, 
Sinews of concord, earthly immortality, 
Eternity of pleasures ; — no restoratives 
Like to a constant woman ! — [Aside] But where is 
she ? 90 

'Twould puzzle all the gods but to create 
Such a new monster. — I can speak by proof, 
For I rest in Elysium ; 'tis my happiness. 

Crot. Euphranea, how are you resolved, speak 
freely, 
In your affections to this gentleman ? 95 

Euph. Nor more nor less than as his love assures 
me ; 
Which — if your liking with my brother's warrants — 
I cannot but approve in all points worthy. 

Crot. So, so ! — [To Prophilus] I know your 

answer. 
Ith. 'T had been pity 

To sunder hearts so equally consented. 100 

Enter Hemophil. 

Hem. The king, Lord Ithocles, commands your 
presence ; — 
And, fairest princess, yours. 

Cal. We will attend him. 

Enter Groneas. 

Gro. Where are the lords ? all must unto the king 
Without delay : the Prince of Argos — 

Cal. Well, sir ? 

Gro. Is coming to the court, sweet lady. 



ACT II. SCENE II. 37 

Cal. How 105 

The Prince of Argos ? 

Gro. 'Twas my fortune, madam, 

T' enjoy the honour of these happy tidings. 

Ith. Penthea !— 

Pen. Brother ? 

Ith. Let me an hour hence 

Meet you alone within the palace-grove ; 
I have some secret with you. — Prithee, friend, no 
Conduct her thither, and have special care 
The walks be cleared of any to disturb us. 

Pro. I shall. 

Bass, [aside] How's that ? 

Ith. Alone, pray be alone. — 

I am your creature, princess. — On, my lords ! 

\_Exeunt all but Bassanes. 

Bass. Alone ! alone ! what means that word 
"alone"? 115 

Why might not I be there ? — hum ! — he's her brother. 

Brothers and sisters are but flesh and blood, 

And this same whoreson court-ease is temptation 

To a rebellion in the veins ; — besides, 

His fine friend Prophilus must be her guardian : 120 

Why may not he dispatch a business nimbly 

Before the other come ? — or — pandering, pandering 

For one another, — be't to sister, mother, 

Wife, cousin, anything, — -'mongst youths of mettle 

Is in request ; it is so — stubborn fate ! 125 

But if I be a cuckold, and can know it, 

I will be fell, and fell. 



38 THE BROKEN HEART. 

Re-enter Groneas. 
Gro. My lord, you're called for. 

Bass. Most heartily I thank ye. Where's my wife, 
pray ? 

Gro. Retired amongst the ladies. 

Bass. Still I thank ye. 

There's an old waiter with her ; saw you her too ? 
Gro. She sits i' the presence-lobby fast asleep, sir. 
Bass. Asleep ! asleep, sir ! 

Gro. Is your lordship troubled ? 

You will not to the king ? 

Bass. Your humblest vassal. 

Gro. Your servant, my good lord. 
Bass. I wait your footsteps. 

\Exeunt. 

Scene III. The Gardens of the Palace. A Grove. 
Enter Prophilus and Penthea. 

Pro. In this walk, lady, will your brother find you ; 
And, with your favour, give me leave a little 
To work a preparation. In his fashion 
I have observed of late some kind of slackness 
To such alacrity as nature once 5 

And custom took delight in ; sadness grows 
Upon his recreations, which he hoards 
In such a willing silence, that to question 
The grounds will argue little skill in friendship, 
And less good manners. 

Pen. Sir, I'm not inquisitive 10 

Of secrecies without an invitation. 



ACT II. SCENE III 39 

Pro. With pardon, lady, not a syllable 
Of mine implies so rude a sense ; the drift — 

Enter Orgilus, disguised as before. 

[To Org.] Do thy best 

To make this lady merry for an hour. 

Org. Your will shall be a law, sir. 

{Exit Prophilus. 

Pen. Prithee, leave me ; 15 

I have some private thoughts I would account with ; 
Use thou thine own. 

Org. Speak on, fair nymph ; our souls 

Can dance as well to music of the spheres 
As any's who have feasted with the gods. 

Pen. Your school-terms are too troublesome. 

Org. What Heaven 

Refines mortality from dross of earth 21 

But such as uncompounded beauty hallows 
With glorified perfection ? 

Pen. Set thy wits 

In a less wild proportion. 

Org. Time can never 

On the white table of unguilty faith 25 

Write counterfeit dishonour ; turn those eyes, 
The arrows of pure love, upon that fire, 
Which once rose to a flame, perfumed with vows 
As sweetly scented as the incense smoking 
On Vesta's altars, ... 30 1 

. . . the holiest odours, virgin's tears, 
. . . sprinkled, like dews, to feed them 
And to increase their fervour. 



40 THE BROKEN HEART. 

Pen. Be not frantic, 

Org. All pleasures are but mere imagination, 

Feeding the hungry appetite with steam 35 

And sight of banquet, whilst the body pines, 

Not relishing the real taste of food : 

Such is the leanness of a heart divided 

From intercourse of troth-contracted loves ; 

No horror should deface that precious figure 40 

Sealed with the lively stamp of equal souls. 

Pen. Away ! some Fury hath bewitched thy tongue: 

The breath of ignorance, that flies from thence, 

Ripens a knowledge in me of afflictions 

Above all sufferance. — Thing of talk, begone ! 45 

Begone, without reply ! 

Org. Be just, Penthea, 

In thy commands ; when thou send'st forth a doom 
Of banishment, know first on whom it lights. 
Thus I take off the shroud, in which my cares 
Are folded up from view of common eyes. 5c 

[ Throws off his Scholar's dress. 
What is thy sentence next ? 

Pen. Rash man ! thou lay'st 

A blemish on mine honour, with the hazard 
Of thy too-desperate life : yet I profess, 
By all the laws of ceremonious wedlock, 
I have not given admittance to one thought 55 

Of female change since cruelty enforced 
Divorce betwixt my body and my heart. 
Why would you fall from goodness thus ? 

Org. O, rather 

Examine me, how I could live to say 



ACT II. SCENE III. 41 

I have been much, much wronged. 'Tis for thy sake 
I put on this imposture : dear Penthea, 61 

If thy soft bosom be not turned to marble, 
Thou'lt pity our calamities ; my interest 
Confirms me thou art mine still 

Pen. Lend your hand ; 

With both of mine I clasp it thus, thus kiss it, 65 

Thus kneel before ye. [Penthea kneels. 

Org. You instruct my duty. 

[Orgilus kneels. 

Pen. We may stand up. [T/iey rise.] Have you 
aught else to urge 
Of new demand ? as for the old, forget it ; 
'Tis buried in an everlasting silence, 
And shall be, shall be ever : what more would ye ? 70 

Org. I would possess my wife ; the equity 
Of very reason bids me. 

Pen. Is that all ? 

Org. Why, 'tis the all of me, myself. 

Pen. Remove 

Your steps some distance from me : — at this space 
A few words I dare change ; but first put on 75 

Your borrowed shape. 

Org. You are obeyed ; 'tis done. 

\He resumes his disguise. 

Pen. How, Orgilus, by promise I was thine 
The heavens do witness ; they can witness too 
A rape done on my truth : how I do love thee 
Yet, Orgilus, and yet, must best appear 80 

In tendering thy freedom ; for I find 



42 THE BROKEN HEART. 

The constant preservation of thy merit, 

By thy not daring to attempt my fame 

With injury of any loose conceit, 

Which might give deeper wound to discontents. 85 

Continue this fair race : then, though I cannot 

Add to thy comfort, yet I shall more often 

Remember from what fortune I am fall'n, 

And pity mine own ruin. — Live, live happy, — 

Happy in thy next choice, that thou mayst people 90 

This barren age with virtues in thy issue ! 

And O, when thou art married, think on me 

With mercy, not contempt ! I hope thy wife, 

Hearing my story, will not scorn my fall. — 

Now let us part. 

Org. Part ! yet advise thee better : 95 

Penthea is the wife to Orgilus, 
And ever shall be. 

Pen. Never shall nor will. 

Org. How ! 

Pen. Hear me ; in a word I'll tell thee why. 

The virgin-dowry which my birth bestowed 
Is ravished by another ; my true love 100 

Abhors to think that Orgilus deserved 
No better favours than a second bed. 

Org. I must not take this reason. 

Pen. To confirm it ; 

Should I outlive my bondage, let me meet 
Another worse than this and less desired, 105 

If, of all men alive, thou shouldst but touch 
My lip or hand again ! 

Org. Penthea, now 



ACT II. SCENE III. 43 

I tell ye, you grow wanton in my sufferance : 
Come, sweet, thou'rt mine. 

Pen. Uncivil sir, forbear ! 

Or I can turn affection into vengeance ; no 

Your reputation, if you value any, 
Lies bleeding at my feet. Unworthy man, 
If ever henceforth thou appear in language, 
Message, or letter, to betray my frailty, 
I'll call thy former protestations lust, 115 

And curse my stars for forfeit of my judgment. 
Go thou, fit only for disguise, and walks, 
To hide thy shame : this once I spare thy life. 
I laugh at my own confidence ; my sorrows 
By thee are made inferior to my fortunes. 120 

If ever thou didst harbour worthy love, 
Dare not to answer. My good genius guide me, 
That I may never see thee more ! — Go from me ! 

Org. I'll tear my veil of politic French off, 
And stand up like a man resolved to do : 125 

Action, not words, shall show me. — O Penthea! 

[Exit 

Pen. He sighed my name, sure, as he parted from 
me : 
I fear I was too rough. Alas, poor gentleman ! 
He looked not like the ruins of his youth, 
But like the ruins of those ruins. Honour, 130 

How much we fight with weakness to preserve thee ! 

[ Walks aside. 

Enter Bassanes and Grausis. 

Bass. Fie on thee ! damn thee, rotten maggot, 
damn thee ! 



44 THE BROKEN HEART. 

Sleep? sleep at court ? and now ? Aches, convulsions, 
Imposthumes, rheums, gouts, palsies, clog thy bones 
A dozen years more yet ! 

Gran. Now you're in humours. 135 

Bass. She's by herself, there's hope of that ; she's 
sad too ; 
She's in strong contemplation ; yes, and fixed : 
The signs are wholesome. 

Grau. Very wholesome, truly. 

Bass. Hold your chops, nightmare ! — Lady, come ; 
your brother 
Is carried to his closet ; you must thither. 140 

Pen. Not well, my lord ? 

Bass. A sudden fit ; 'twill off ! 

Some surfeit or disorder. — How dost, dearest ? 

Pen. Your news is none o' the best. 

Re-enter Prophilus. 

Pro. The chief of men, 

The excellentest Ithocles, desires 
Your presence, madame. 

Bass. We are hasting to him. 

Pen. In vain we labour in this course of life 146 
To piece our journey out at length, or crave 
Respite of breath : our home is in the grave. 

Bass. Perfect philosophy ! 

Pen. Then let us care 

To live so, that our reckonings may fall even 150 

When we're to make account. 

Pro. He cannot fear 



ACT II. SCENE III 45 

Who builds on noble grounds : sickness or pain 

Is the deserver's exercise ; and such 

Your virtuous brother to the world is known. 

Speak comfort to him, lady ; be all gentle : 155 

Stars fall but in the grossness of our sight ; 

A good man dying, the earth doth lose a light. 

\_Exeunt, 



ACT THE THIRD. 

Scene I. The Study of Tecnicus. 

Enter Tecnicus, and Orgilus in his usual dress. 

Tec. Be well advised ; let not a resolution 
Of giddy rashness choke the breath of reason. 
Org. It shall not, most sage master. 

Tec. I am jealous ; 

For if the borrowed shape so late put on 
Inferred a consequence, we must conclude 5 

Some violent design of sudden nature 
Hath shook that shadow off, to fly upon 
A new-hatched execution. , Orgilus, 
Take heed thou hast not, under our integrity, 
Shrouded unlawful plots ; our mortal eyes 10 

Pierce not the secrets of your heart, the gods 
Are only privy to them. 

Org. Learned Tecnicus, 

Such doubts are causeless ; and, to clear the truth 
From misconceit, the present state commands me. 
The Prince of Argos comes himself in person 15 

In quest of great Calantha foriiis bride, 
Our kingdom's heir ; besides, mine only sister, 
Euphranea, is disposed to Prophilus ; 
Lastly, the king is sending letters for me 

46 



ACT III. SCENE I. 47 

To Athens, for my quick repair to court : 20 

Please to accept these reasons. 

Tec. Just ones, Orgilus, 

Not to be contradicted : yet beware 
Of an unsure foundation ; no fair colours 
Can fortify a building faintly jointed. 
I have observed a growth in thy aspect 25 

Of dangerous extent, sudden, and — look to't— 
I might add, certain— 

Org. My aspect ! could art 

Run through mine inmost thoughts, it should not sift 
An inclination there more than what suited 
With justice of mine honour. 

Tec. I believe it. 30 

But know then, Orgilus, what honour is : 
Honour consists not in a bare opinion 
By doing any act that feeds content, 
Brave in appearance, 'cause we think it brave ; 
Such honour comes by accident, not nature, 35 

Proceeding from the vices of our passion, 
Which makes our reason drunk ; but real honour 
Is the reward of virtue, and acquired 
By justice, or by valour which for basis 
Hath justice to uphold it. He then fails 40 

In honour, who for lucre or revenge 
Commits thefts, murders, treasons, and adulteries, 
With suchlike, by intrenching on just laws, 
Whose sovereignty is best preserved by justice. 
Thus, as you see how honour must be grounded 45 
On knowledge, not opinion — for opinion 
Relies on probability and accident, 



4?. THE BROKEN HEART. 

But knowledge on necessity and truth, — 

I leave thee to the fit consideration 

Of what becomes the grace of real honour, 50 

Wishing success to all thy virtuous meanings. 

Org. The gods increase thy wisdsm, reverend 
oracle, 
And in thy precepts make me ever thrifty ! 

Tec. I thank thy wish. {Exit Orgilus. 

Much mystery of fate 
Lies hid in that man's fortunes ; curiosity 55 

May lead his actions into rare attempts : — 
But let the gods be moderators still ; 
No human power can prevent their will. 

Enter Armostes with a casket. 

From whence come ye ? 

Arm. From King Amyclas, — pardon 

My interruption of your studies, — Here, 60 

In this sealed box, he sends a treasure to you, 
Dear to him as his crown ; he prays your gravity, 
You would examine, ponder, sift, and bolt 
The pith and circumstance of every tittle 
The scroll within contains. 

Tec. What is't, Armostes ? 65 

Arm. It is the health of Sparta, the king's life, 
Sinews and safety of the commonwealth ; 
The sum of what the oracle delivered 
When last he visited the prophetic temple 
At Delphos ; what his reasons are, for which, 70 

After so long a silence, he requires 



ACT III. SCENE II. 49 

Your counsel now, grave man, his majesty 
Will soon himself acquaint you with. 

Tec. Apollo \_He takes the casket. 

Inspire my intellect ! — The Prince of Argos 
Is entertained ? 

Arm. He is ; and has demanded 75 

Our princess for his wife ; which I conceive 
One special cause the king importunes you 
For resolution of the oracle. 

Tec. My duty to the king, good peace to Sparta, 
And fair day to Armostes ! 

Arm. Like to Tecnicus ! [Exeunt. 

Scene II. The Palace. Ithocles' Apartment. 

Soft music. A song ivithin, during which Prophilus, 
Bassanes, Penthea, and Grausis pass over the 
stage. Bassanes and Grausis re-e?iter softly, and 
listen in different places. 

Song. 

Can you paint a thought ? or number 

Every fancy in a slumber ? 

Can you count soft minutes roving 

From a dial's point by moving? 

Can you grasp a sigh ? or, lastly, 5 

Rob a virgin's honour chastely? 

No, O, no ! yet you may 
Sooner do both that and this, 
This and that, and never miss, 

Than by any praise display 10 



50 THE BROKEN HEART. 

Beauty's beauty ; such a glory, 
As beyond all fate, all story, 
All arms, all arts, 
All loves, all hearts, 
Greater than those or they, - 15 

Do, shall, and must obey. 
Bass. All silent, calm, secure. — Grausis, no 
creaking ? 
No noise ? dost thou hear nothing ? 

Greta. Not a mouse, 

Or whisper of the wind. 

Bass. The floor is matted ; 

The bedposts sure are steel or marble. — Soldiers 20 
Should not affect, methinks, strains so effeminate : 
Sounds of such delicacy are but fawnings 
Upon the sloth of luxury, they heighten 
Cinders of covert lust up to a flame. 

Gran. What do you mean, my lord ? speak low ; 
that gabbling 25 

Of yours will but undo us. 

Bass. Chamber-combats 

Are felt, not heard. 

Pro. \within\ He wakes. 
Bass. What's that ? 

Ith. \within\ Who's there ? 

Sister ? — All quit the room else. 

Bass. 'Tis consented ! 

Re-enter Prophilus. 
Pro. Lord Bassanes, your brother would be 
private, 



ACT III. SCENE II. 5 1 

We must forbear ; his sleep hath newly left him. 30 
Please ye withdraw. 

Bass. By any means ; 'tis fit. 

Pro. Pray, gentlewoman, walk too. 

Gran. Yes, I will, sir. [Exeunt. 

The scene opens ; Ithocles is discovered i?i a chair, and 
Penthea beside him. 

1th. Sit nearer, sister, to me ; nearer yet : 
We had one father, in one womb took life, 
Were brought up twins together, yet have lived 35 
At distance, like two strangers : I could wish 
That the first pillow whereon I was cradled 
Had proved to me a grave. 

Pen. You had been happy : 

Then had you never known that sin of life 
Which blots all following glories with a vengeance, 
For forfeiting the last will of the dead, 41 

For whom you had your being. 

Ith. Sad Penthea, 

Thou canst not be too cruel ; my rash spleen 
Hath with a violent hand plucked from thy bosom 
A love-blest heart, to grind it into dust ; 45 

For which mine's now a-breaking. 

Pen. Not yet, Heaven, 

I do beseech thee ! first let some wild fires 
Scorch, not consume it ! may the heat be cherished 
With desires infinite, but hopes impossible ! 

Ith. Wronged soul, thy prayers are heard. 

Pen. Here, lo, I breathe, 



S 2 THE BROKEN HEART. 

A miserable creature, led to ruin 51 

By an unnatural brother ! 

Ith. I consume 

In languishing affections for that trespass ; 
Yet cannot die. 

Pen. The handmaid to the wages 

Of country toil drinks the untroubled streams 55 

With leaping kids and with the bleating lambs, 
And so allays her thirst secure ; whiles I 
Quench my hot sighs with fleetings of my tears. 

1th. The labourer doth eat his coarsest bread, 
Earned with his sweat, and lies him down to sleep ; 
While every bit I touch turns in digestion 61 

To gall as bitter as Penthea's curse. 
Put me to any penance for my tyranny, 
And I will call thee merciful. 

Pen. ■ Pray kill me, 

Rid me from living with a jealous husband ; 65 

Then we will join in friendship, be again 
Brother and sister. — Kill me, pray ; nay, will ye ? 

Ith. How does my lord esteem thee ? 

Pen. Such an one 

As only you have made me ; a faith-breaker, 
A spotted whore : — forgive me, I am one — 70 

In act, not in desires, the gods must witness. 

Ith. Thou dost belie thy friend. 

Pen. ' I do not, Ithocles ; 

For she that's wife to Orgilus, and lives 
In known adultery with Bassanes, 
Is at the best a whore. Wilt kill me now ? 75 



ACT III. SCENE II S3 

The ashes of our parents will assume 
Some dreadful figure, and appear to charge 
Thy bloody guilt, that hast betrayed their name 
To infamy in this reproachful match. 

Ith. After my victories abroad, at home 80 

I meet despair ; ingratitude of nature 
Hath made my actions monstrous : thou shalt stand 
A deity, my sister, and be worshipped 
For thy resolved martyrdom ; wronged maids 
And married wives shall to thy hallowed shrine 85 
Offer their orisons, and sacrifice 
Pure turtles, crowned with myrtle ; if thy pity 
Unto a yielding brother's pressure lend 
One finger but to ease it. 

Pen. O, no more ! 

Ith. Death waits to waft me to the Stygian banks, 
And free me from this chaos of my bondage ; 91 

And till thou wilt forgive, I must endure. 

Pen. Who is the saint you serve ? 

Ith, Friendship, or nearness 

Of birth to any but my sister, durst not 
Have moved that question ; 'tis a secret, sister, 95 
I dare not murmur to myself. 

Pen. Let me, 

By your new protestations I conjure ye, 
Partake her name. 

Ith. Her name ?— 'tis — 'tis — I dare not. 

Pen. All your respects are forged. 

Ith. They are not. — Peace ! 

Calantha is— the princess — the king's daughter — 



54 THE BROKEN HEART. 

Sole heir of Sparta. — Me, most miserable ! 101 

Do I now love thee ? for my injuries 
Revenge thyself with bravery, and gossip 
My treasons to the king's ears, do : — Calantha 
Knows it not yet, nor Prophilus, my nearest. 105 

Pen. Suppose you were contracted to her, would it 
not 
Split even your very soul to see her father 
Snatch her out of your arms against her will, 
And force her on the Prince of Argos ? 

Ith. Trouble not 

The fountains of mine eyes with thine own story; 
I sweat in blood for't. 

Pen. We are reconciled. in 

Alas, sir, being children but two branches 
Of one stock, 'tis not fit we should divide : 
Have comfort, you may find it. 

Ith. Yes, in thee ; 

Only in thee, Penthea mine. 

Pen. If sorrows 115 

Have not too much dulled my infected brain, 
I'll cheer invention for an active strain. 

Ith. Mad man ! why have I wronged a maid so 
excellent ! 

Bassanes rushes in with a poniard, followed by Pro- 
philus, Groneas, Hemophil, and Grausis. 

Bass. I can forbear no longer ; more, I will not : 
Keep off your hands, or fall upon my point. — 120 
Patience is tired ; for, like a slow-paced ass, 



ACT III. SCENE II. 55 

Ye ride my easy nature, and proclaim 

My sloth to vengeance a reproach and property. 

Ith. The meaning of this rudeness ? 

Pro. He's distracted. 

Pen. O, my grieved lord ! — 

Grate. Sweet lady, come not near him ; 

He holds his perilous weapon in his hand 126 

To prick he cares not whom nor where, — see, see, 
see ! 

Bass. My birth is noble : though the popular 
blast 
Of vanity, as giddy as thy youth, 
Hath reared thy name up to bestride a cloud, 130 
Or progress in the chariot of the sun, 
I am no clod of trade, to lackey pride, 
Nor, like your slave of expectation, wait 
The bawdy hinges of your doors, or whistle 
For mystical conveyance to your bed-sports. 135 

Gro. Fine humours ! they become him. 

Hem. How he stares, 

Struts, puffs, and sweats ! most admirable lunacy ! 

Ith. But that I may conceive the spirit of wine 
Has took possession of your soberer custom, 
I'd say you were unmannerly. 

Pen. Dear brother ! — 140 

Bass. Unmannerly ! — mew, kitling ! — smooth for- 
mality 
Is usher to the rankness of the blood, 
But impudence bears up the train. Indeed, sir, 
Your fiery mettle, or your springal blaze 



5 6 THE BROKEN HEART. 

Of huge renown, is no sufficient royalty 145 

To print upon my forehead the scorn, " cuckold. " 

Ith. His jealousy has robbed him of his wits ; 
He talks he knows not what. 

Bass. Yes, and he knows 

To whom he talks ; to one that franks his lust 
In swine-security of bestial incest. 150 

Ith. Ha, devil ! 

Bass. I will halloo't ; though I blush more 

To name the filthiness than thou to act it. 

Ith. Monster ! [Draws his sword. 

Pro. Sir, by our friendship — 

Pen. By our bloods — 

Will you quite both undo us, brother ? 

Grau. Out on him !. 

These are his megrims, firks, and melancholies. 155 

Hem, Well said, old touch-hole. 

Gro. Kick him out of doors. 

Pen. With favour, let me speak. — My lord, what 
slackness 
In my obedience hath deserved this rage ? 
Except humility and silent duty 

Have drawn on your unquiet, my simplicity 160 

Ne'er studied your vexation. 

Bass. Light of beauty, 

Deal not ungently with a desperate wound ! 
No breach of reason dares make war with her 
Whose looks are sovereignity, whose breath is balm : 
O, that I could preserve thee in fruition 165 

As in devotion ! 



ACT III. SCENE II. 57 

Pen. Sir, may every evil 

Locked in Pandora's box shower in your presence 
On my unhappy head, if, since you made me 
A partner in your bed, I have been faulty 
In one unseemly thought against your honour ! 170 

Ith. Purge not his griefs, Penthea. 

Bass. Yes, say on, 

Excellent creature ! — [To Ithocles] Good, be not 

a hindrance 
To peace and praise of virtue. — O, my senses 
Are charmed with sounds celestial ! — On, dear, on : 
I never gave you one ill word ; say, did I ? 175 

Indeed I did not. 

Pen. Nor, by Juno's forehead, 

Was I e'er guilty of a wanton error. 

Bass. A goddess ! let me kneel. 

Grau. Alas, kind animal ! 

Ith. No ; but for penance. 

Bass. Noble sir, what is it ? 

With gladness I embrace it ; yet, pray let not 180 
My rashness teach you to be too unmerciful. 

////. When you shall show good proof that manly 
wisdom, 
Not overswayed by passion or opinion, 
Knows how to lead your judgment, then this lady, 
Your wife, my sister, shall return in safety 185 

Home, to be guided by you ; but, till first 
I can out of clear evidence approve it, 
She shall be my care. 

Bass. Rip my bosom up, 



5 8 THE BROKEN HEART, 

I'll stand the execution with a constancy ; 
This torture is insufferable. 

Ith. Well, sir, 190 

I dare not trust her to your fury. 

Bass. But , 

Penthea says not so. 

Pen. She needs no tongue 

To plead excuse who never purposed wrong. 

[Exit with Ithocles and Prophilus. 

Hem. Virgin of reverence and antiquity, 
Stay you behind. 

[To Grausis, who is following Penthea. 

Gro. The court wants not your diligence. 195 
[Exeunt Hemophil and Groneas. 

Graii. What will you do, my lord ? my lady's gone ; 
I am denied to follow. 

Bass. I may see her, 

Or speak to her once more ? 

Gran. And feel her too, man ; 

Be of good cheer, she's your own flesh and bone. 

Bass. Diseases desperate must find cures alike. 
She swore she has been true. 

Grau. True, on my modesty. 201 

Bass. Let him want truth who credits not her 
vows ! 
Much wrong I did her, but her brother infinite ; 
Rumour will voice me the contempt of manhood, 
Should I run on thus : some way I must try 205 

To outdo art, and jealousy decry. [Exeunt. 



ACT III. SCENE III. 59 



Scene III. A Room in the Palace. 
Flourish. Enter Amyclas, Nearchus, leading Cal- 

ANTHA, ARMOSTES, CrOTOLON, EUPHRANEA, 

Christalla, Philema, and Amelus. 

Amy. Cousin of Argos, what the heavens have 
pleased, 
In their unchanging counsels, to conclude 
For both our kingdoms' weal, we must submit to : 
Nor can we be unthankful to their bounties, 
Who, when we were even creeping to our grave, 5 
Sent us a daughter, in whose birth our hope 
Continues of succession. As you are 
In title next, being grandchild to our aunt, 
So we in heart desire you may sit nearest 
Calantha's love ; since we have ever vowed 10 

Not to enforce affection by our will, 
But by her own choice to confirm it gladly. 

Near. You speak the nature of a right just father. 
I come not hither roughly to demand 
My cousin's thraldom, but to free mine own : 15 

Report of great Calantha's beauty, virtue, 
Sweetness, and singular perfections, courted 
All ears to credit what I find was published 
By constant truth ; from which, if any service 
Of my desert can purchase fair construction, 20 

This lady must command it. 

Cal. Princely sir, 

So well you know how to profess observance, 
That you instruct your hearers to become 



60 THE BROKEN HEART. 

Practitioners in duty ; of which number 
I'll study to be chief. 

Near. Chief, glorious virgin, 25 

In my devotion, as in all men's wonder. 

Amy. Excellent cousin, we deny no liberty ; 
Use thine own opportunities. — Armostes, 
We must consult with the philosophers ; 
The business is of weight. 

Arm. Sir, at your pleasure. 30 

Amy. You told me, Crotolon,'your son's returned 
From Athens : wherefore comes he not to court, 
As we commanded ? 

Crot. He shall soon attend 

Your royal will, great sir. 

Amy. The marriage 

Between young Prophilus and Euphranea 35 

Tastes of too much delay. 

Crot. My lord,— 

Amy. Some pleasures 

At celebration of it would give life 
To the entertainment of the prince our kinsman ; 
Our court wears gravity more than we relish. 

Arm. Yet the heavens smile on all your high 
attempts, 40 

Without a cloud. 

Crot. So may the gods protect us ! 

CaL A prince a subject ? 

Near. Yes, to beauty's sceptre ; 

As all hearts kneel, so mine. 

Cal. You are too courtly. 



ACT III. SCENE III 6 1 

Enter Ithocles, Orgilus and Prophilus. 

Ith. Your safe return to Sparta is most welcome : 
I joy to meet you here, and, as occasion 45 

Shall grant us privacy, will yield you reasons 
Why I should covet to deserve the title 
Of your respected friend ; for, without compliment, 
Believe it, Orgilus, 'tis my ambition. 

Org. Your lordship may command me, your poor 
servant. 50 

Ith. [aside] So amorously close ! — so soon ! my 

heart ! 
Pro. What sudden change is next ? 

Ith. Life to the king ! 

To whom I here present this noble gentleman, 
New come from Athens : royal sir. vouchsafe 
Your gracious hand in favour of his merit. 55 

[The King gives Orgilus his hand to kiss. 

Crot. [aside] My son preferred by Ithocles ! 

Amy. Our bounties 

Shall open to thee, Orgilus ; for instance, — 
Hark in thine ear, — if, out of those inventions 
Which flow in Athens, thou hast there engrossed 
Some rarity of wit, to grace the nuptials 60 

Of thy fair sister, and renown our court 
In the eyes of this young prince, we shall be debtor 
To thy conceit : think on't. 

Org. Your highness honours me. 

Near. My tongue and heart are twins. 

Cat. A noble birth, 



62 THE BROKEN HEART. 

Becoming such a father. — Worthy Orgilus, 65 

You are a guest most wished for. 

Org. May my duty 

Still rise in your opinion, sacred princess ! 

Ith. Euphranea's brother, sir ; a gentleman 
Well worthy of your knowledge. 

Near. We embrace him, 

Proud of so dear acquaintance. 

Amy. All prepare 70 

For revels and disport ; the joys of Hymen, 
Like Phoebus in his lustre, put to flight 
All mists of dulness, crown the hours with gladness : 
No sounds but music, no discourse but mirth ! 

Cat. Thine arm, I prithee, Ithocles. — Nay, good 
My lord, keep on your way ; I am provided. 76 

Near. I dare not disobey. 

Ith. Most heavenly lady ! 

[Exeunt. 

Scene IV. A Room in the House of Crotolon. 
Enter Crotolon and Orgilus. 

Crot. The king hath spoke his mind. 

Org. His will he hath ; 

But were it lawful to hold plea against 
The power of greatness, not the reason, haply 
Such undershrubs as subjects sometimes might 
Borrow of nature justice, to inform 5 

The license sovereignity holds without check 
Over a meek obedience. 

Crot. How resolve you 



ACT III. SCENE IV. &$ 

Touching your sister's marriage ? Prophilus 
Is a deserving and a hopeful youth. 

Org. I envy not his merit, but applaud it ; 10 

Could wish him thrift in all his best desires, 
And with a willingness inleague our blood 
With his, for purchase of full growth in friendship, 
He never touched on any wrong that maliced 
The honour of our house nor stirred our peace : 15 
Yet, with your favour, let me not forget 
Under whose wing he gathers warmth and comfort, 
Whose creature he is bound, made, and must live so. 

Crot. Son, son, I find in thee a harsh condition ; 
No courtesy can win it, 'tis too rancorous. 20 

Org. Good sir, be not severe in your construction ; 
I am no stranger to such easy calms 
As sit in tender bosoms : lordly Ithocles 
Hath graced my entertainment in abundance ; 
Too humbly hath descended from that height 25 

Of arrogance and spleen which wrought the rape 
On grieved Penthea's purity ; his scorn 
Of my untoward fortunes is reclaimed 
Unto a courtship, almost to a fawning : — 
I'll kiss his foot, since you will have it so. 30 

Crot. Since I will have it so ! friend, I will have 
it so, 
Without our ruin by your politic plots, 
Or wolf of hatred snarling in your breast. 
You have a spirit, sir, have ye ? a familiar 
That posts i' the air for your intelligence ? 35 

Some such hobgoblin hurried you from Athens, 
For yet you come unsent for. 



64 THE BROKEN HEART, 

Org. If unwelcome, 

I might have found a grave there. 

Crot, Sure, your business 

Was soon dispatched, or your mind altered quickly. 

Org. 'Twas care, sir, of my health cut short my 
journey ; 40 

For there a general infection 
Threatens a desolation. 

Crot. And I fear 

Thou hast brought back a worse infection with thee, — 
Infection of thy mind ; which, as thou say'st, 
Threatens the desolation of our family. 45 

Org. Forbid it, our dear genius ! I will rather 
Be made a sacrifice on Thrasus' monument, 
Or kneel to Ithocles his son in dust, 
Than woo a father's curse. My sister's marriage 
With Prophilus is from my heart confirmed ; 50 

May I live hated, may I die despised, 
If I omit to further it in all 
That can concern me ! 

Crot. I have been too rough. 

My duty to my king made me so earnest ; 
Excuse it, Orgilus. 

Org. Dear sir ! — 

Crot. Here comes 55 

Euphranea, with Prophilus and Ithocles. 

Enter Prophilus, Euphranea, Ithocles, Groneas, 
and Hemophil. 

Org. Most honoured ! — ever famous ! 

Ith. Your true friend ; 



ACT III. SCENE IV. 65 

Cn earth not any truer. — With smooth eyes 
Look on this worthy couple ; your consent 
Can only make them one. 

Org. They have it. — Sister, 60 

Thou pawnedst to me an oath, of which engagement 
I never will release thee, if thou aim'st 
At any other choice than this. 

Euph. Dear brother, 

At him, or none. 

Crot To which my blessing's added. 

Org. Which, till a greater ceremony perfect, — 65 
Euphranea, lend thy hand, — here, take her, Prophilus : 
Live long a happy man and wife ; and further, 
That these in presence may conclude an omen. 
Thus for a bridal song I close my wishes : 

[Sings] Comforts lasting, loves increasing, 70 

Like soft hours never ceasing : 
Plenty's pleasure, peace complying, 
Without jars, or tongues envying ; 
Hearts by holy union wedded, 
More than theirs by custom bedded ; 
Fruitful issues ; life so graced, 76 

Not by age to be defaced, 
Budding, as the year ensu'th, 
Every spring another youth : 
All what thought can add beside 80 

Crown this bridegroom and this bride ! 

Pro. You have sealed joy close to my soul. — 
Euphranea, 
Now I may call thee mine. 



66 THE BROKEN HEART. 

Ith. I but exchange 

One good friend for another. 

Org. If these gallants 

Will please to grace a poor invention 85 

By joining with me in some slight device, 
I'll venture on a strain my younger days 
Have studied for delight. 

Hem. With thankful willingness 

I offer my attendance. 

Gro. No endeavour 

Of mine shall fail to show itself. 

Ith. We will 90 

All join to wait on thy directions, Orgilus. 

Org. O, my good lord, your favours flow towards 
A too unworthy worm ; — but as you please ; 
I am what you will shape me. 

////. A fast friend. 

Crot. I thank thee, son, for this acknowledgment ; 
It is a sight of gladness. 

Org. But my duty. [Exeunt. 

Scene V. Calantha's Apartment in the Palace. 

Enter Calantha, Penthea, Christalla, and 
Philema. 

Cat. Whoe'er would speak with us, deny his 
entrance ; 
Be careful of our charge. 

Chris. We shall, madam. 



ACT III. SCENE IV. 67 

Cal. Except the king himself, give none admit- 
tance ; 
Not any. 
Phil. Madam, it shall be our care. 

[Exeunt Christ alla and Philema. 

Cal. Being alone, Penthea, you have granted 5 
The opportunity you sought, and might 
At all times have commanded. 

Pen. Tis a benefit 

Which I shall owe your goodness even in death for : 
My glass of life, sweet princess, hath few minutes 
Remaining to run down ; the sands are spent ; 10 
For by an inward messenger I feel 
The summons of departure short and certain. 

Cal. You feel too much your melancholy. 

Pen. Glories 

Of human greatness are but pleasing dreams 
And shadows soon decaying : on the stage 15 

Of my mortality my youth hath acted 
Some scenes of vanity, drawn out at length 
By varied pleasures, sweetened in the mixture, 
But tragical in issue : beauty, pomp, 
With every sensuality our giddiness 20 

Doth frame an idol, are unconstant friends, 
When any troubled passion makes assault 
On the unguarded castle of the mind. 

Cal. Contemn not your condition for the proof 
Of bare opinion only : to what end 25 

Reach all these moral texts ? 

Pen. To place before ye 

A perfect mirror, wherein you may see 



68 THE BROKEN HEART. 

How weary I am of a lingering life, 
Who count the best a misery. 

Cal. Indeed 

You have no little cause ; yet none so great 30 

As to distrust a remedy. 

Pen. That remedy 

Must be a winding-sheet, a fold of lead, 
And some untrod-on corner in the earth. — 
Not to detain your expectation, princess, 
I have an humble suit. 

Cal. Speak ; I enjoy it. 35 

Pen. Vouchsafe, then, to be my executrix, 
And take that trouble on ye to dispose 
Such legacies as I beqeath impartially ; 
I have not much to give, the pains are easy ; 
Heaven will reward your piety, and thank it 40 

When I am dead ; for sure I must not live ; 
I hope I cannot. 

Cal. Now, beshrew thy sadness, 

Thou turn'st me too much woman. [Weeps. 

Pen. [aside] Her fair eyes 

Melt into passion. — Then I have assurance 
Encouraging my boldness. Tn this paper 45 

My will was charactered ; which you, with pardon, 
Shall now know from mine own mouth. 

Cal. Talk on, prithee ; 

It is a pretty earnest. 

Pen. I have left me 

But three poor jewels to bequeath. The first is 
My youth ; for though I am much old in griefs, 50 
In years I am a child. 



ACT III. SCENE IV. 69 

Cal. To whom that jewel ? 

Pen. To virgin-wives, such as abuse not wedlock 
By freedom of desires, but covet chiefly 
The pledges of chaste beds for ties of love, 
Rather than ranging of their blood ; and next 55 

To married maids, such as prefer the number 
Of honourable issue in their virtues 
Before the flattery of delights by marriage : 
May those be ever young ! 

Cal. A second jewel 

You mean to part with ? 

Pen. 'Tis my fame, I trust 60 

By scandal yet untouched : this I bequeath 
To Memory, and Time's old daughter, Truth. 
If ever my unhappy name find mention 
When I am fall'n to dust, may it deserve 
Beseeming charity without dishonour ! 65 

Cal. How handsomely thou play'st with harmless 
sport 
Of mere imagination ! speak the last. 
I strangely like thy will. 

Pen. This jewel, madam, 

Is dearly precious to me ; you must use 
The best of your discretion to employ 70 

This gift as I intend it. 

Cal. Do not doubt me. 

Pen. 'Tis long agone since first I lost my heart : ^ 
Long I have lived without it, else for certain 
I should have given that too ; but instead 
Of it, to great Calantha, Sparta's heir, 75 



70 THE BROKEN HEART. 

By service bound and by affection vowed, 
I do bequeath, in holest rites of love, 
Mine only brother, Ithocles. 

Cal. What saidst thou ? 

Pen. Impute not, heaven-blest lady, to ambition 
A faith as humbly perfect as the prayers 80 

Of a devoted suppliant can endow it : 
Look on him, princess, with an eye of pity ; 
How like the ghost of what he late appeared 
He moves before you. 

Cal. Shall I answer here, 

Or lend my ear too grossly ? 

Pen. First his heart 85 

Shall fall in cinders, scorched by your disdain, 
Ere he will dare, poor man, to ope an eye 
On these divine looks, but with low-bent thoughts 
Accusing such presumption ; as for words, 
He dares not utter any but of service : 90 

Yet this lost creature loves ye. — Be a princess 
In sweetness as in blood ; give him his doom, 
Or raise him up to comfort. 

Cal. What new change 

Appears in my behaviour, that thou dar'st 
Tempt my displeasure ? 

Pen. I must leave the world 95 

To revel in Elysium, and 'tis just 
To wish my brother some advantage here ; 
Yet, by my best hopes, Ithocles is ignorant 
Of this pursuit : but if you please to kill him, 
Lend him one angry look or one harsh word, 100 

And you shall soon conclude how strong a power 



ACT III. SCEXE IV. 7 1 

Your absolute authority holds over 
His life and end. 

Cal. You have forgot, Penthea, 

How still I have a father. 

Pen. But remember 

I am a sister, though to me this brother 105 

Hath been, you know, unkind, O, most unkind ! 

Cal. Christalla, Philema, where are ye ? — Lady, 
Your check lies in my silence. 

Pe-enter Christalla and Philema. 
Chris, and Phil. Madam, here. 

Cal. I think ye sleep, ye drones : wait on Penthea 
Unto her lodging. — [Aside] Ithocles ? wronged lady! 
Pen. My reckonings are made even ; death or 
fate 1 1 1 

Can now nor strike too soon nor force too late. 

[Exeunt. 



ACT THE FOURTH. 

Scene I. The Palace. Ithocles' Apartment. 

Enter Ithocles and Armostes. 

Ith. Forbear your inquisition ; curiosity 
Is of too subtle and too searching nature, 
In fears of love too quick, too slow of credit. — 
I am not what you doubt me. 

Arm. Nephew, be, then, 

As I would wish ; — all is not right. — Good heaven 5 
Confirm your resolutions for dependence 
On worthy ends, which may advance your quiet ! 

Ith. I did the noble Orgilus much injury, 
But grieved Penthea more : I now repent it, — 
Now, uncle, now ; this " now " is now too late. 10 
So provident is folly in sad issue, 
That after-wit, like bankrupts' debts, stands tallied, 
Without all possibilities of payment. 
Sure, he's an honest, very honest gentleman ; 
A man of single meaning. 

Arm. I believe it : 15 

Yet, nephew, 'tis the tongue informs our ears ; 
Our eyes can never pierce into the thoughts, 
For they are lodged too inward : — but I question 
No truth in Orgilus. — The princess, sir. 

72 



ACT IV. SCENE I. 73 

////. The princess ! ha ! 

Ann. With her the Prince of Argos. 20 

Enter Nearchus, leading Calantha ; Amelus, 
Christalla, Philema. 

Near. Great fair one, grace my hopes with any 
instance 
Of livery, from the allowance of your favour ; 
This little spark — 

\_Attempts to take a ring from her finger. 

Cat. A toy ! 

Near. Love feasts on toys, 

For Cupid is a child ; — vouchsafe this bounty : 
It cannot be denied. 

Cal. You shall not value, 25 

Sweet cousin, at a price, what I count cheap ; 
So cheap, that let him take it who dares stoop fort, 
And give it at next meeting to a mistress : 
She'll thank him for't, perhaps. 

[Casts the ring before Ithocles, who takes it up. 

Ame. The ring, sir, is 

The princess's ; I could have took it up. 30 

Ith. Learn manners, prithee. — To the blessed 
owner, 
Upon my knees — \Kneels and offers it to Calantha. 

Near. You're saucy. 

Cal. This is pretty ! 

I am, belike, " a mistress "—wondrous pretty !— 



74 THE BROKEN HEART. 

Let the man keep his fortune, since he found it ; 
He's worthy on't. — On, cousin ! 

[Exeunt Nearchus, Calantha, Chris- 
talla, and Philema. 

Ith. [to Amelus] Follow, spaniel ; 35 

I'll force ye to a fawning else. 

Ante, You dare not. [Exit. 

Arm. My lord, you were too forward. 

////. Look ye, uncle, 

Some such there are whose liberal contents 
Swarm without care in every sort of plenty ; 
Who after full repasts can lay them down 40 

To sleep ; and they sleep, uncle : in which silence 
Their very dreams present 'em choice of pleasures, 
Pleasures — observe me, uncle — of rare object ; 
Here heaps of gold, there increments of honours, 
Now change of garments, then the votes of people ; 
Anon varieties of beauties, courting, 46 

In flatteries of the night, exchange of dalliance : 
Yet these are still but dreams. Give me felicity 
Of which my senses waking are partakers, 
A real, visible, material happiness ; 50 

And then, too, when I stagger in expectance 
Of the least comfort that can cherish life. — 
I saw it sir, I saw it ! for it came 
From her own hand. 

Ann. The princess threw it t'ye. 

Ith. True ; and she said — well I remember what — 
Her cousin prince would beg it. 

Ann. Yes, and parted 56 

In anger at your taking on't. 



ACT IV. SCEXE I. 75 

Ith. Penthea, 

O, thou hast pleaded with a powerful language ! 
I want a fee to gratify thy merit ; 
But I will do— 

Arm. What is't you say ? 

Ith. In anger ! 60 

In anger let him part ; for could his breath, 
Like whirlwinds, toss such servile slaves as lick 
The dust his foosteps print into a vapour, 
It durst not stir a hair of mine, it should not ; 
I'd rend it up by the roots first. To be anything 65 
Calantha smiles on, is to be a blessing 
More sacred than a petty prince of Argos 
Can wish to equal or in worth or title. 

Arm. Contain yourself, my lord : Ixion, aiming 
To embrace Juno, bosomed but a cloud, 70 

And begat Centaurs ; 'tis an useful moral : 
Ambition hatched in clouds of mere opinion 
Proves but in birth a prodigy. 

Ith. I thank ye ; 

Yet, with your license, I should seem uncharitable 
To gentler fate, if, relishing the dainties 75 

Of a soul's settled peace, I were so feeble 
Not to digest it. 

Arm. He deserves small trust 

Who is not privy-counsellor to himself. 

Re-enter Nearchus and Amelus, with Orgilus. 

Near. Brave me ? 

Org. Your excellence mistakes his temper ; 

For Ithocles in fashion of his mind 80 



7 6 THE BROKEN HEART. 

Is beautiful, soft, gentle, the clear mirror 
Of absolute perfection 

Ame. Was't your modesty 

Termed any of the prince's servants " spaniel " ? 
Your nurse, sure, taught you other language. 

Ith. Language ! 

Near. A gallant man-at-arms is here, a doctor 85 
In feats of chivalry, blunt and rough-spoken, 
Vouchsafing not the fustian of civility, 
Which less rash spirits style good manners. 

Ith. Manners ! 

Org. No more, illustrious sir ; 'tis matchless 
Ithocles. 

Near. You might have understood who I am. 

Ith. Yes, 90 

I did ; else — but the presence calmed the affront — 
You're cousin to the princess. 

Near. To the king too ; 

A certain instrument that lent supportance 
To your colossic greatness — to that king too, 
You might have added. 

Ith. There is more divinity 95 

In beauty than in majesty. 

Arm. O fie, fie ! 

Near. This odd youth's pride turns heretic in 
loyalty. 
Sirrah ! low mushrooms never rival cedars. 

[Exeunt Nearchus and Amelus. 

Ith. Come back ! — What pitiful dull thing am I 



ACT IV. SCENE I. 77 

So to be tamely scolded at ! come back ! — ioo 

Let him come back, and echo once again 
That scornful sound of mushroom ! painted colts — 
Like heralds' coats gilt o'er with crowns and sceptres — 
May bait a muzzled lion. 

Arm. Cousin, cousin, 

Thy tongue is not thy friend. 

Org. In point of honour 105 

Discretion knows no bounds. Amelus told me 
'Twas all about a little ring. 

Ith. A ring 

The princess threw away, and I took up : 
Admit she threw't to me, what arm of brass 
Can snatch it hence ? No ; could he grind the hoop 
To powder, he might sooner reach my heart in 

Than steal and wear one dust on't. — Orgilus, 
I am extremely wronged, 

Org. A lady's favour 

Is not to be so slighted. 

Ith. Slighted ! 

Arm. Quiet 

These vain unruly passions, which will render ye 115 
Into a madness. 

Org. Griefs will have their vent. 

Eiiter Tec nic us with a scroll. 

Arm. Welcome ; thou com'st in season, reverend 
man, 
To pour the balsam of a suppling patience 
Into the festering wound of ill-spent fury. 



78 THE BROKEN HEART. 

Org. [aside] What makes he here ? 

Tec. The hurts are yet but mortal, 

Which shortly will prove deadly. To the king, 121 
Armostes, see in safety thou deliver 
This sealed-up counsel ; bid him with- a constancy 
Peruse the secrets of the gods. — O Sparta, 

Lacedaemon ! double-named, but one 125 
In fate : when kingdoms reel, — mark well my saw, — 
Their heads must needs be giddy. Tell the king 
That henceforth he no more must inquire after 

My aged head ; Apollo wills it so : 

1 am for Delphos. 

Arm. Not without some conference 130 

With our great master ? 

Tec. Never more to see him : 

A greater prince commands me. — Ithocles, 

" When youth is ripe, and age from time doth part, 
The lifeless trunk shall wed the broken heart/' 

Ith. What's this, if understood ? 

Tec. List, Orgilus ; 135 

Remember what I told thee long before, 
These tears shall be my witness. 

Arm. 'Las, good man ! 

Tec. " Let craft with courtesy a while confer, 
Revenge proves its own executioner." 
Org. Dark sentences are for Apollo's priests ; 
I am not (Edipus. 

Tec. My hour is come ; 141 

Cheer up the king ; farewell to all. — O Sparta, 
O Lacedaemon ! [Exit. 



ACT IV. SCENE //. 79 

Arm. If prophetic fire 

Have warmed this old man's bosom, we might construe 
His words to fatal sense. 

1th. Leave to the powers 145 

Above us the effects of their decrees ; 
My burthen lies within me : servile fears 
Prevent no great effects. — Divine Calantha ! 

Arm. The gods be still propitious ! 

[Exeunt Ithocles and Armostes. 

Org. Something oddly 

The book-man prated, yet he talked it weeping 150 
" Let craft with courtesy a while confer, 
Revenge proves its own executioner." 
Con it again ; — for what ? It shall not puzzle me ; 
'Tis dotage of a withered brain. — Penthea 
Forbade me not her presence ; I may see her, 155 
And gaze my fill. Why see her, then, I may, 
When, if I faint to speak — I must be silent. [Exit. 

Scene II. A Room in Bassaxes' House. 
Enter Bassanes, Grausis, and Phulas. 

Bass. Pray, use your recreations, all the service 
I will expect is quietness amongst ye ; 
Take liberty at home, abroad, at all times, 
And in your charities appease the gods, 
Whom I, with my distractions, have offended. 5 

Grau. Fair blessings on thy heart ! 

Phu. [aside] Here's a rare change ! 

My lord, to cure the itch, is surely gelded ; 
The cuckold in conceit hath cast his horns. 



8o THE BROKEN HEART. 

Bass. Betake ye to your several occasions ; 
And wherein I have heretofore been faulty, 10 

Let your constructions mildly pass it over ; 
Henceforth I'll study reformation, — more 
I have not for employment. 

Grau. O, sweet man ! 

Thou art the very " Honeycomb of Honesty." 

Phu. The " Garland of Good-will."— Old lady, 
hold up 15 

Thy reverend snout, and trot behind me softly, 
As it becomes a moil of ancient carriage. 

[Exeunt Grausis and Phulas. 

Bass. Beasts, only capable of sense, enjoy 
The benefit of food and ease with thankfulness ; 
Such silly creatures, with a grudging, kick not 20 
Against the portion nature hath bestowed • 
But men, endowed with reason and the use 
Of reason, to distinguish from the chaff 
Of abject scarcity the quintessence, 
Soul, and elixir of the earth's abundance, 25 

The treasures of the sea, the air, nay, heaven, 
Repining at these glories of creation 
Are verier beasts than beasts ; and of those beasts 
The worst am I : I, who was made a monarch 
Of what a heart could wish for, — a chaste wife, — 30 
Endeavoured what in me lay to pull down 
That temple built for adoration only, 
And level't in the dust of causeless scandal. 
But, to redeem a sacrilege so impious, 
Humility shall pour, before the deities 35 

I have incensed, a largess of more patience 



ACT IV. SCENE II. 8 1 

Than their displeased altars can require : 
No tempests of commotion shall disquiet 
The calms of my composure. 

Enter Orgilus. 

Org. I have found thee, 

Thou patron of more horrors than the bulk 40 

Of manhood, hooped about with ribs of iron, 
Can cram within thy breast ; Penthea, Bassanes, 
Cursed by jealousies, — more, by the dotage,— 
Is left a prey to words. 

Bass. Exercise 

Your trials for addition to my penance ; 45 

I am resolved. 

Org. Play not with misery 

Past cure : some angry minister of fate hath 
Deposed the empress of her soul, her reason, 
From its most proper throne ; but, what's the miracle 
More new, I, I have seen it, and yet live ! 50 

Bass. You may delude my senses, not my judg- 
ment ; 
'Tis anchored into a firm resolution ; 
Dalliance of mirth or wit can ne'er unfix it : 
Practice yet further. 

Org. May thy death of love to her 

Damn all thy comforts to a lasting fast 55 

From every joy of life ! Thou barren rock, 
By thee we have been split in ken of harbour. 

Enter Penthea with her hair loose, Ithocles, 
Armostes, Philema, and Christalla. 

Ith. Sister, look up ; your Ithocles, your brother, 



32 THE BROKEN HEART. 

Speaks t'ye ; why do you weep ? dear, turn not from 

me. — 
Here is a killing sight ; lo, Bassanes, 60 

A lamentable object ! 

Org. Man, does see't ? 

Sports are more gamesome ; am I yet in merriment ? 
Why dost not laugh ? 

Bass. Divine and best of ladies, 

Please to forget my outrage ; mercy ever 
Cannot but lodge under a roof so excellent : 65 

I have cast off that cruelty of frenzy 
Which once appeared imposture, and then juggled 
To cheat my sleeps of rest. 

Org. Was I in earnest ? 

Pen. Sure, if we were all Sirens, we should sing 
pitifully, 
And 'twere a comely music, when in parts 70 

One sung another's knell : the turtle sighs 
When he hath lost his mate ; and yet some say 
He must be dead first : 'tis a fine deceit 
To pass away in a dream ! indeed, I've slept 
W T ith mine eyes open a great while. No falsehood 
Equals a broken faith ; there's, not a hair 76 

Sticks on my head but, like a leaden plummet, 
It sinks me to the grave : I must creep thither ; 
The journey is not long. 

1th. But thou, Penthea, 

Hast many years, I hope, to number yet, 80 

Ere thou canst travel that way. 

Bass. Let the sun first 

Be wrapped up in an everlasting darkness, 



ACT IV. SCENE II. %2> 

Before the light of nature, chiefly formed 
For the whole world's delight, feel an eclipse 
So universal ! 

Org. Wisdom, look ye, begins 85 

To rave ! — art thou mad too, antiquity ? 

Pen. Since I was first a wife, I might have been 
Mother to many pretty prattling babes ; 
They would have smiled when I smiled, and for certain 
I should have cried when they cried : — truly, brother, 
My father would have picked me out a husband, 91 
And then my little ones had been no bastards ; 
But 'tis too late for me to marry now, 
I am past child-bearing ; 'tis not my fault. 

Bass. Fall on me, if there be a burning ^Etna, 95 
And bury me in flames ! sweats hot as sulphur 
Boil through my pores ! affliction hath in store 
No torture like to this. 

Org. Behold a patience ! 

Lay-by thy whining gray dissimulation, 
Do something worth a chronicle ; show justice 100 
Upon the author of this mischief ; dig out 
The jealousies that hatched this thraldom first 
With thine own poniard : every antic rapture 
Can roar as thine does. 

1th. Orgilus, forbear. 

Bass. Disturb him not ; it is a talking motion 
Provided for my torment. What a fool am I 106 

To bandy passion ! ere I'll speak a w r ord, 
I will look on and burst. 

Pen. I loved you once. [To Orgilus. 



8 4 THE BROKEN HEART. 

Org. Thou didst, wronged creature : in despite of 
malice, 
For it I love thee ever. 

Pen. Spare your hand ; no 

Believe me, I'll not hurt it, 

Org. My heart too. 

Pen. Complain not though I wring it hard : I'll 
kiss it ; 
O, 'tis a fine soft palm ! — hark, in thine ear ; 
Like whom do I look, prithee ? — nay, no whispering. 
Goodness ! we had been happy ; too much happiness 
Will make folk proud, they say — but that is he — 116 

[Pointing to Ithocles. 
And yet he paid for't home ; alas, his heart 
Is crept into the cabinet of the princess ; 
We shall have points and bride-laces. Remember, 
When we last gathered roses in the garden, 120 

I found my wits ; but truly you lost yours. 
That's he, and still 'tis he. 

[Again pointing to Ithocles. 

Ith. Poor soul, how idly 

Her fancies guide her tongue ! 

Bass, [aside] Keep in, vexation, 

And break not into the clamour. 

Org. [aside] She has tutored me, 

Some powerful inspiration checks my laziness. — 125 
Now let me kiss your hand, grieved beauty. 

Pen. Kiss it. — 

Alack, alack, his lips be wondrous cold ; 
Dear soul, has lost his colour : have ye seen 



ACT IV. SCENE II. 85 

A straying heart ? all crannies ! every drop 

Of blood is turned to an amethyst, 130 

Which married bachelors hang in their ears. 

Org. Peace usher her into Elysium ! — 
If this be madness, madness is an oracle. 

[Aside, and exit. 

Ith. Christalla, Philema, when slept my sister, 
Her ravings are so wild ? 

Chris. Sir, not these ten days. 135 

Phil. We watch by her continually ; besides, 
We can not any way pray her to eat. 

Bass. O, misery of miseries ! 

Pen. Take comfort ; 

You may live well, and die a good old man : 
By yea and nay, an oath not to be broken, 140 

If you had joined our hands once in the temple, — 
'Twas since my father died, for had he lived 
He would have done't, — I must have called you 

father, — 
O, my wrecked honour ! ruined by those tyrants, 
A cruel brother and a desperate dotage 145 

There is no peace left for a ravished wife 
Widowed by lawless marriage ; to all memory 
Penthea's, poor Penthea's name is strumpeted : 
But since her blood was seasoned by the forfeit 
Of noble shame with mixtures of pollution, 150 

Her blood — 'tis just — be henceforth never heightened 
With taste of sustenance ! starve ; let that fulness 
Whose plurisy hath fevered faith and modesty- 
Forgive me ; O, I faint ! 

[Falls into the arms of her Attendants. 



86 THE BROKE X HEART. 

Arm. Be not so wilful, 

Sweet niece, to work thine own destruction. 

Ith. Nature 

Will call her daughter monster ! — What ! not eat ? 
Refuse the only ordinary means 
Which are ordained for life ? Be not, my sister, 
A murderess to thyself. — Hear'st thou this, Bassanes ? 

Bass. Foh ! I am busy ;. for I have not thoughts 
Enow to think : all shall be well anon. 161 

'Tis tumbling in my head ; there is a mastery 
In art to fatten and keep smooth the outside, 
Yes, and to comfort-up the vital spirits 
Without the help of food, fumes or perfumes, 165 
Perfumes or fumes. Let her alone ; I'll search out 
The trick on't 

Pen. Lead me gently ; heavens reward ye. 

Griefs are sure friends ; they leave without control 
Nor cure nor comforts for a leprous soul. 

[Exit, supported by Christalla and Philema. 

Bass. I grant ye ; and will put in practice instantly 

What you shall still admire : 'tis wonderful, 171 

Tis super-singular, not to be matched ; 

Yet, when I've done't, I've done't : — ye shall all 

thank me. [Exit. 

Arm. The sight is full of terror. 

Ith. On my soul 

Lies such an infinite clog of massy dulness, 175 

As that I have not sense enough to feel it. — 
See, uncle, the angry thing returns again ; 
Shall's welcome him with thunder ? we are haunted, 



ACT IV. SCENE II. 87 

And must use exorcism to conjure down 
This spirit of malevolence. 

Arm, Mildly, nephew. 180 

Enter Nearchus and Amelus. 

Near. I come not, sir, to chide your late disorder, 
Admitting that the inurement to a roughness 
In soldiers of your years and fortunes, chiefly 
So lately prosperous, hath not yet shook off 
The custom of the war in hours of leisure ; 185 

Nor shall you need excuse, since you're to render 
Account to that fair excellence, the princess, 
Who in her private gallery expects it 
From your own mouth alone : I am a messenger 
But to her pleasure. 

1th. Excellent Nearchus, 190 

Be prince still of my services, and conquer 
Without the combat of dispute ; I honour ye. 

Near, The king is on a sudden indisposed, 
Physicians are called for ; 'twere fit, Armostes, 
You should be near him. 

Arm. Sir, I kiss your hands. 195 

[Exeunt Ithocles and Armostes. 

Near. Amelus, I perceive Calantha's bosom 
Is warmed with other fires than such as can 
Take strength from any fuel of the love 
I might address to her : young Ithocles, 
Or ever I mistake, is lord ascendant 200 

Of her devotions ; one, to speak him truly, 
In every disposition nobly fashioned. 



88 THE BROKEN HEART. 

Ame. But can your highness brook to be so rivalled, 
Considering the inequality of the persons ? 

Near. I can, Amelus ; for affections injured 205 
By tyranny or rigour of compulsion, 
Like tempest-threatened trees unfirmty rooted, 
Ne'er spring to timely growth : observe, for instance, 
Life-spent Penthea and unhappy Orgilus. 

Ame. How does your grace determine ? 

Near. To be jealous 

In public of what privately I'll further ; 211 

And though they shall not know, yet they shall find it. 

[Exeunt. 

Scene III. An Apartment hi the Palace. 

Enter Amyclas, led by Hemophil and Groneas, fol- 
lowed by Armostes with a box, Crotolon, and 
Prophilus. Amyclas is placed in a chair. 

Amy. Our daughter is not near ? 

Arm. She is retired, sir, 

Into her gallery. 

Amy. Where's the prince our cousin ? 

Pro. New walked into the grove, my lord. 

Amy. All leave us 

Except Armostes, and you, Crotolon ; 
We would be private. 

Pro. Health unto your majesty ! 5 

\Exeunt Prophilus, Hemophil, and Groneas. 

Amy. What ! Tecnicus is gone? 



ACT IV. SCENE III. 89 

Arm. He is to Delphos ; 

And to your royal hands presents this box. 

Amy. Unseal it, good Armostes ; therein lie 
The secrets of the oracle ; out with it : 

[Asmostes takes out the scroll. 
Apollo live our patron ! Read, Armostes. 10 

Ar?ii. [reads~\ 

" The plot in which the vine takes root 
Begins to dry from head to foot ; 
The stock, soon withering, want of sap 
Doth cause to quail the budding grape ; 
But from the neighbouring elm a dew 15 

Shall drop, and feed the plot anew." 
Amy. That is the oracle : what exposition 
Makes the philosopher ? 

Arm. This brief one only. [Reads. 

" The plot is Sparta, the dried vine the king ; 
The quailing grape his daughter ; but the thing 20 
Of most importance, not to be revealed, 
Is a near prince, the elm : the rest concealed. 

Tecnicus." 
Amy. Enough; although the opening of this riddle 
Be but itself a riddle, yet we construe 
How near our labouring age draws to a rest : 25 

But must Calantha quail too ? that young grape 
Untimely budded ! I could mourn for her ; 
Her tenderness hath yet deserved no rigour 
So to be crossed by fate. 

Arm. You misapply, sir, — 

With favour let me speak it, — what Apollo 30 

Hath clouded in hid sense : I here conjecture 



9° THE BROKEN HEART, 

Her marriage with some neighbouring prince, the 

dew 
Of which befriending elm shall ever strengthen 
Your subjects with a sovereignity of power. 

Crot. Besides, most gracious lord, the pith of 
oracles 35 

Is to be then digested when the events 
Expound their truth, not brought as soon to light 
As uttered ; Truth is child of Time : and herein 
I find no scruple, rather cause of comfort, 
With unity of kingdoms. 

Amy. May it prove so, 40 

For weal of this dear nation ! — Where is Ithocles ? — 
Armostes, Crotolon, when this withered vine 
Of my frail carcass, on the funeral pile 
Is fired into its ashes, let that young man 
Be hedged about still with your cares and loves : 45 
Much owe 'I to his worth, much to his service, — 
Let such as wait come in now. 

Arm. All attend here ! 

Enter Calantha, Ithocles, Prophilus, Orgilus, 
Euphranea, Hemophil, and Groneas. 

Cal. Dear sir ! king ! father ! 

Ith. O, my royal master ! 

Amy. Cleave not my heart, sweet twins of my life's 
solace, 
With your forejudging fears ; there is no physic 50 
So cunningly restorative to cherish 
The fall of age, or call back youth and vigour, 
As your consents in duty : I will shake off 



ACT IV. SCEXE III. 9 1 

This languishing disease of time, to quicken 
Fresh pleasures in these drooping hours of sadness. 
Is fair Euphranea married yet to Prophilus ? $6 

Crot. This morning, gracious lord. 

Org. This very morning ; 

Which, with your highness' leave, you may observe 

too. 
Our sister looks, methinks, mirthful and sprightly, 
As if her chaster fancy could already 60 

Expound the riddle of her gain in losing 
A trifle maids know only that they know not. 
Pish ! prithee, blush not ; 'tis but honest change 
Of fashion in the garment, loose for strait, 
And so the modest maid is made a wife : 65 

Shrewd business — is't not, sister ? 

Euph. You are pleasant. 

Amy. We thank thee, Orgilus ; this mirth becomes 
thee. 
But wherefore sits the court in such a silence ? 
A wedding without revels is not seemly. 

Cal, Your late indisposition, sir, forbade it. 70 

Amy. Be it thy charge, Calantha, to set forward 
The bridal sports, to which I will be present ; 
If not, at least consenting. — Mine own Ithocles, 
I have done little for thee yet. 

Ith. You've built me 

To the full height I stand in. 

Cal. [aside] Now or never ! — 75 

May I propose a suit ? 

Amy. Demand, and have it. 



9 2 THE BROKEN HEART. 

Cal. Pray, sir, give me this young man, and no 
further 
Account him yours than he deserves in all things 
To be thought worthy mine : I will esteem him 
According to his merit. 

Amy. Still thou'rt my daughter, 

Still grow'st upon my heart. — [To Ithocles] Give 
me thine hand ;— 81 

Calantha, take thine own : in noble actions 
Thou'lt find him firm and absolute. — I would not 
Have parted with thee, Ithocles, to any 
But to a mistress who is all what I am. 85 

Ith. A change, great king, most wished for, 'cause 
the same. 

Cal. [aside to Ithocles] Thou'rt mine. Have I 
now kept my word ? 

Ith. [aside to Calantha] Divinely. 

Org. Rich fortunes guard, the favour of the 
princess 
Rock thee, brave man, in ever-crowned plenty ! 
You're minion of the time ; be thankful for it. — 90 
[Aside] Ho ! here's a swing in destiny — apparent ! 
The youth is up on tiptoe, yet may stumble. 

Amy. On to your recreations. — Now convey me 
Unto my bed-chamber : none on his forehead 
Wear a distempered look. 

All. The gods preserve ye ! 95 

Cal. [aside to Ithocles] Sweet, be not from my 
sight. 



ACT IV. SCENE III. 93 

Ith. [aside to Calantha] My whole felicity! 

[Amyclas is carried out. Exeunt all but 

Ithocles, who is detained by Orgilus. 

Org. Shall I be bold, my lord ? 

Ith. Thou canst not, Orgilus. 

Call me thine own ; for Prophilus must henceforth 
Be all thy sister's : friendship, though it cease not 
In marriage, yet is oft at less command ioo 

Than when a. single freedom can dispose it. 

Org. Most right, my most good lord, my most 
great lord, 
My gracious princely lord, I might add, royal. 

Ith. Royal ! a subject royal ? 

Org. Why not, pray, sir ? 

The sovereignity of kingdoms in their nonage 105 
Stooped to desert, not birth ; there's as much merit 
In clearness of affection as in puddle 
Of generation ; you have conquered love 
Even in the loveliest ; if I greatly err not, 
The son of Venus hath bequeathed his quiver no 
To Ithocles his manage, by whose arrows 
Calantha's breast is opened. 

Ith. Can't be possible ? 

Org. I was myself a piece of suitor once, 
And forward in preferment too ; so forward, 
That, speaking truth, I may without offence, sir, 115 
Presume to whisper that my hopes, and — hark ye — 
My certainity of marriage stood assured 
With as firm footing — by your leave — as any's 
Now at this very instant — but — 



94 THE BROKEN HEART. 

Ith. Tis granted : 

And for a league of privacy between us, 120 

Read o'er my bosom and partake a secret ; 
The princess is contracted mine. 

Org. Still, why not ? 

I now applaud her wisdom : when your kingdom 
Stands seated in your will secure and settled, 
I dare pronounce you will be a just monarch ; 125 
Greece must admire and tremble. 

Ith. Then the sweetness 

Of so imparadised a comfort, Orgilus ! 
It is to banquet with the gods. 

Org. The glory 

Of numerous children, potency of nobles, 
Bent knees, hearts paved to tread on ! 

Ith. With a friendship 

So dear, so fast as thine. 

Org. I am unfitting 131 

For office ; but for service — 

Ith. We'll distinguish 

Our fortunes merely in the title ; partners 
In all respects else but the bed. 

Org. The bed ! 

Forfend it Jove's own jealousy ! — till lastly 135 

We slip down in the common earth together ; 
And there our beds are equal ; save some monu- 
ment 
To show this was the king, and this the subject. — 

[Soft, sad music. 
List, what sad sounds are these, — extremely sad ones ? 



ACT IV. SCENE IV. 95 

Ith. Sure, from Penthea's lodgings. 

Org. Hark ! a voice too. 

Song within. 

O, no more, no more, too late 141 

Sighs are spent ; the burning tapers 

Of a life as chaste as fate, 
Pure as are unwritten papers, 

Are burnt out : no heat, no light 145 

Now remains ; 'tis ever night. 

Love is dead ; let lover's eyes, 

Locked in endless dreams, 

Th' extremes of all extremes, 
Ope no more, for now Love dies, 150 

Now Love dies, — implying 
Love's martyrs must be ever, ever dying. 

Ith. O, my misgiving heart ! 

Org. A horrid stillness 

Succeeds this deathful air ; let's know the reason : 
Tread softly ; there is mystery in mourning. [Exeunt. 

Scene IV. Penthea's Afiarti?ient in the Palace. 

Penthea discovered in a chair, veiled j Christalla 
and Philema at her feet mourning. Enter two 
Servants with two other chairs, one with an engine. 

Enter Ithocles and Orgilus. 

1st Ser. [aside to Orgilus] 'Tis done ; that on her 

right hand. 
Org. Good : begone. [Exeunt Servants, 



9 6 THE BROKEN HEART. 

Ith. Soft peace enrich this room ! 

Org. How fares this lady ? 

Phil. Dead ! 

Chris. Dead ! 

Phil. Starved ! 

Chris. Starved ! 

Ith. Me miserable ! 

Org. Tell us 

How parted she from life. 

Phil. She called for music, 

And begged some gentle voice to tune a farewell 5 
To life and griefs : Christalla touched the lute ; 
I wept the funeral song. 

Chris. Which scarce was ended 

But her last breath sealed-up these hollow sounds, 
" O, cruel Ithocles and injured Orgilus ! " 
So down she drew her veil, so died. 

Ith. So died ! 10 

Org. Up ! you are messengers of death ; go 
from us ; [Christalla and Philema rise. 

Here's woe enough to court without a prompter : 
Away ; and — hark ye— till you see us next, 
No syllable that she is dead. — Away, 
Keep a smooth brow. 

[Exeunt Christalla and Philema. 
My lord,— 

1M- Mine only sister ! 15 

Another is not left me. 

Org. Take that chair ; 

I'll seat me here in this : between us sits 



ACT IV. SCENE TV. 97 

The object of our sorrows ; some few tears 

We'll part among us ; I perhaps can mix 

One lamentable story to prepare 'em. — 20 

There, there ; sit there, my lord. 

Ith. Yes, as you please. 

[Sits down, the chair closes upon him. 
What means this treachery ? 

Org. Caught ! you are caught, 

Young master ; 'tis thy throne of coronation, 
Thou fool of greatness ! See, I take this veil off ; 
Survey a beauty withered by the flames 25 

Of an insulting Phaeton, her brother. 

Ith. Thou mean'st to kill me basely ? 

Org. I foreknew 

The last act of her life, and trained thee hither 
To sacrifice a tyrant to a turtle. 

You dreamt of kingdoms, did ye ? how to bosom 30 
The delicacies of a youngling princess ; 
How with this nod to grace that subtle courtier, 
How with that frown to make this noble tremble, 
And so forth ; while Penthea's groans and tortures, 
Her agonies, her miseries, afflictions, 35 

Ne'er touched upon your thought : as for my injuries, 
Alas, they were beneath your royal pity ; 
But yet they lived, thou proud man, to confound thee. 
Behold thy fate ; this steel ! [Draws a dagger. 

Ith. Strike home ! A courage 

As keen as thy revenge shall give it welcome : 40 

But prithee faint not ; if the wound close up, 
Tent it with double force, and search it deeply. 
Thou look'st that I should whine and beg compassion, 



9^ THE BROKEN HEART. 

As loth to leave the vainness of my glories ; 

A statelier resolution arms my confidence, 45 

To cozen thee of honour ; neither could I 

With equal trial of unequal fortune 

By hazard of a duel ; 'twere a bravery 

Too mighty for a slave intending murder. 

On to the execution, and inherit 50 

A conflict with thy horrors. 

Org. By Apollo, 

Thou talk'st a goodly language ! for requital 
I will report thee to thy mistress richly : 
And take this peace along ; some few short minutes 
Determined, my resolves shall quickly follow 55 

Thy wrathful ghost ; then, if we tug for mastery, 
Penthea's sacred eyes shall lend new courage. 
Give me thy hand : be healthful in thy parting 
From lost mortality ! thus, thus I free it. [Stabs him. 

Ith. Yet, yet, I scorn to shrink. 

Org. Keep up thy spirit : 

I will be gentle even in blood ; to linger 61 

Pain, which I strive to cure, were to be cruel. 

[Stabs him again. 

Ith. Nimble in vengeance, I forgive thee. Follow 
Safety, with best success : O, may it prosper ! — 
Penthea, by thy side thy brother bleeds ; 65 

The earnest of his wrongs to thy forced faith. 
Thoughts of ambition, or delicious banquet 
With beauty, youth, and love, together perish 
In my last breath, which on the sacred altar 
Of a long-looked-for peace — now — moves — to heaven. 

[Dies. 



ACT IV. SCENE IV. 99 

Org. Farewell, fair spring of manhood ! henceforth 
welcome 71 

Best expectation of a noble sufferance. 
I'll lock the bodies safe, till what must follow 
Shall be approved. — Sweet twins, shine stars for- 
ever ! — 
In vain they build their hopes whose life is shame : 
No monument lasts but a happy name. 76 

\Locks the door, and exit. 



ACT THE FIFTH. 

Scene I. A Room in Bassanes' House. 

Enter Bassanes. 

Bass. Athens — to Athens I have sent, the nursery 
Of Greece for learning and the fount of knowledge ; 
For here in Sparta there's not left amongst us 
One wise man to direct ; we're all turned madcaps. 
'Tis said Apollo is the god of herbs, 5 

Then certainly he knows the virtue of 'em : 
To Delphos I have sent too. If there can be 
A help for nature, we are sure yet. 

Enter Orgilus. 

Org. Honour 

Attend thy counsels ever ! 

Bass. I beseech thee 

With all my heart, let me go from thee quietly ; 10 
I will not aught to do with thee, of all men. 
The doubles of a hair, — or, in a morning, 
Salutes from a splay-footed witch, — to drop 
Three drops of blood at th' nose just and no more, — 
Croaking of ravens, or the screech of owls, 15 

Are not so boding mischief as thy crossing 
My private meditations : shun me, prithee ; 
And if I cannot love thee heartily, 
I'll love thee as well as I can. 



ACT V. SCENE I. 101 

Org, Xoble Bassanes, 

Mistake me not. 

Bass. Phew ! then we shall be troubled. 20 

Thou wert ordained my plague — heaven make me 

thankful, 
And give me patience too, heaven, I beseech thee. 

Org. Accept a league of amity ; for henceforth, 
I vow, by my best genius, in a syllable, 
Never to speak vexation ; I will study 25 

Service and friendship, with a zealous sorrow 
For my past incivility towards ye. 

Bass. Hey-day, good words, good words ! I must 
believe 'em, 
And be a coxcomb for my labour. 

Org. Use not 

So hard a language ; your misdoubt is causeless : 30 

For instance, if you promise to put on 

A constancy of patience, such a patience 

As chronicle or history ne'er mentioned, 

As follows not example, but shall stand 

A wonder and a theme for imitation, 35 

The first, the index pointing to a second, 

I will acquaint ye with an unmatched secret, 

Whose knowledge to your griefs shall set a period. 

Bass. Thou canst not, Orgilus ; 'tis in the power 
Of the gods only : yet, for satisfaction, 40 

Because I note an earnest in thine utterance, 
Unforced and naturally free, be resolute. 
The virgin-bays shall not withstand the lightning 
With a more careless danger than my constancy 
The full of thy relation ; could it move 45 



102 THE BROKEN HEART. 

Distraction in a senseless marble statue, 
It should find me a rock : I do expect now 
Some truth of unheard moment. 

Org. To your patience 

You must add privacy, as strong in silence 
As mysteries locked-up in Jove's own bosom. 50 

Bass. A skull hid in the earth a treble age 
Shall sooner prate. 

Org. Lastly, to such direction 

As the severity of a glorious action 
Deserves to lead your wisdom and your judgment, 
You ought to yield obedience. 

Bass. With assurance 55 

Of will and thankfulness. 

Org. With manly courage 

Please, then, to follow me. 

Bass. Where'er, I fear not. \Exeunt. 

Scene II. A State-room in the Palace. 

A flourish. Enter Euphranea led by Groneas and 
Hemophil ; Prophilus, led by Christalla and 
Philema ; Nearchus supporting Calantha ; 
Crotolon and Amelus. 

Cal. We miss our servant Ithocles and Orgilus ; 
On whom attend they ? 

Crot. My son, gracious princess, 

Whispered some new device, to which these revels 
Should be but usher : wherein I conceive 
Lord Ithocles and he himself are actors. 5 



ACT V. SCENE II. 103 

Cal. A fair excuse for absence : as for Bassanes, 
Delights to him are troublesome : Armostes 
Is with the king ? 

Crot. He is. 

Cal. On to the dance ! — 

Dear cousin, hand you the bride ; the bridegroom 

must be 
Intrusted to my courtship. Be not jealous, 10 

Euphranea ; I shall scarcely prove a temptress. — 
Fall to our dance. 

The Revels. 

Music. Nearchus dances with Euphranea, Pro- 
philus with Calantha, Christalla with Hemo- 
phil, Philema with Groneas. 

They dance the first change j during which Armostes 
enters. 

Arm. [whispers Calantha] The king your 
father's dead. 

Cal. To the other change. 
Arm. Is't possible ? 

They dance the second change. 
Enter Bassanes. 
Bass, [whispers Calantha] O, madam ! 

Penthea, poor Penthea's starved. 

Cal. Beshrew thee ! — 

Lead to the next. 

Bass. Amazement dulls my senses. 15 

They dance the third change. 



!04 THE BROKEN HEART. 

Enter Orgilus. 

Org. [whispers Calantha] Brave Ithocles is 
murdered, murdered cruelly. 

Cal. How dull this music sounds ! Strike up 
more sprightly ; 
Our footings are not active like our heait, 
Which treads the nimbler measure. 

Org. I am thunderstruck. 

The last change. 

Cal. So ! let us breathe awhile. [Music ceases.] — 
Hath not this motion 21 

Raised fresher colour on our cheeks ? 

Near. Sweet princess, 

A perfect purity of blood enamels 
The beauty of your white. 

Cal. We all look cheerfully : 

And, cousin, 'tis methinks a rare presumption 
In any who prefer our lawful pleasures 25 

Before their own sour censure, t' interrupt 
The custom of this ceremony bluntly. 

Near. None dares, lady. 

Cal. Yes, yes ; some hollow voice delivered to me 
How that the king was dead. 

Arm. The king is dead : 30 

That fatal news was mine ; for in mine arms 
He breathed his last, and with his crown bequeathed 

ye 
Your mother's wedding-ring ; which here I tender. 

Crot. Most strange ! 



ACT V. SCENE II. 105 

Cal. Peace crown his ashes ! We are queen, then. 
Near. Long live Calantha ! Sparta's sovereign 
queen ! 35 

All. Long live the queen ! 
Cal. What whispered Bassanes ? 

Bass. That my Penthea, miserable soul, 
Was starved to death. 

Cal. She's happy ; she hath finished 

A long and painful progress. — A third murmur 
Pierced mine unwilling ears. 

Org. That Ithocles 40 

Was murdered ; — rather butchered, had not bravery 
Of an undaunted spirit, conquering terror, 
Proclaimed his last act triumph over ruin. 

Arm. How ! murdered ! 

Cal. By whose hand ? 

Org, By mine ; this weapon 

Was instrument to my revenge : the reasons 45 

Are just, and known ; quit him of these, and then 
Never lived gentleman of greater merit, 
Hope or abiliment to steer a kingdom. 

Crot. Fie, Orgilus ! 

Euph. Fie, brother ! 

Cal. You have done it ? 

Bass. How it was done let him report, the forfeit 
Of whose allegiance to our laws doth covet 51 

Rigour of justice ; but that done it is 
Mine eyes have been an evidence of credit 
Too sure to be convinced. Armostes, rend not 



106 THE BROKEN HEART. 

Thine arteries with hearing the bare circumstances 

Of these calamities ; thou'st lost a nephew, 56 

A niece, and I a wife : continue man still ; 

Make me the pattern of digesting evils, 

Who can outlive my mighty ones, not shrinking 

At such a pressure as would sink a soul 60 

Into what's most of death, the worst of horrors. 

But I have sealed a covenant with sadness, 

And entered into bonds without condition, 

To stand these tempests calmly ; mark me, nobles, 

I do not shed a tear, not for Penthea ! 65 

Excellent misery ! 

CaL We begin our reign 

With a first act of justice : thy confession, 
Unhappy Orgilus, dooms thee a sentence ; 
But yet thy father's or thy sister's presence 
Shall be excused. — Give, Crotolon, a blessing 70 

To thy lost son ; — Euphranea, take a farewell ; — 
And both be gone. 

Crot. [to Orgilus.] Confirm thee noble sorrow 
In worthy resolution ! 

Euph. Could my tears speak, 

My griefs were slight. 

Org. All goodness dwell amongst ye ! 

Enjoy my sister, Prophilus : my vengeance 75 

Aimed never at thy prejudice. 

CaL Now withdraw. 

[Exeunt Crotolon, Prophilus, and Euphranea. 
Bloody relater of thy stains in blood, 
For that thou hast reported him, whose fortunes 
And life by thee are both at once snatched from him, 



ACT V. SCENE II. 107 

With honourable mention, make thy choice 80 

Of what death likes thee best ; there's all our 

bounty. — 
But to excuse delays, let me, dear cousin, 
Intreat you and these lords see execution 
Instant before ye part. 

Near. Your will commands us. 

Org. One suit, just queen, my last ; vouchsafe 
your clemency, 85 

That by no common hand I be divided 
From this my humble frailty. 

Cal. To their wisdoms 

Who are to be spectators of thine end 
I make the reference : those that are dead 
Are dead ; had they not now died, of necessity 90 
They must have paid the debt they owed to nature 
One time or other. — Use dispatch, my lords ; 
We'll suddenly prepare our coronation. 

[^M/ CALANTHA, PhILEMA, tf/7;/CHRISTALLA. 

Arm. 'Tis strange these tragedies should never 
touch on 
Her female pity. 

Bass. She has a masculine spirit ; 95 

And wherefore should I pule, and, like a girl, 
Put finger in the eye ? let's be all toughness, 
Without distinction betwixt sex and sex. 

Near. Now, Orgilus, thj choice ? 

Org. To bleed to death. 

Arm t The executioner ? 

Org. Myself, no surgeon ; 100 



io8 THE BROKEN HEART. 

I am well skilled in letting blood. Bind fast 

This arm, that so the pipes may from their conduits 

Convey a full stream ; here's a skilful instrument ; 

[Shows his dagger. 
Only I am a beggar to some charity 
To speed me in this execution 105 

By lending th' other prick to the tother arm, 
When this is bubbling life out. 

Bass. I am for ye ; 

It most concerns my art, my care, my credit. — 
Quick fillet both his arms. 

Org. Grammercy, friendship ! 

Such courtesies are real which flow cheerfully no 
Without an expectation of requital. 
Reach me a staff in this hand. [They give him a staff.] 

— If a proneness 
Or custom in my nature from my cradle 
Had been inclined to fierce and eager bloodshed, 
A coward guilt, hid in a coward quaking, 115 

Would have betrayed me to ignoble flight 
And vagabond pursuit of dreadful safety : 
But look upon my steadiness, and scorn not 
The sickness of my fortune, which since Bassanes 
Was husband to Penthea had lain bed-rid. 120 

We trifle time in words :— thus I show cunning 
In opening of a vein too full, too lively. 

[Pierces the vein with his dagger. 

Arm. Desperate courage ! 

Near. Honourable infamy ! 

Hem. I tremble at the sight. 

Gro. * Would I were loose ! 



ACT V. SCENE II. 109 

Bass. It sparkles like a lusty wine new broached ; 
The vessel must be sound from which it issues. — 
Grasp hard this other stick — I'll be as nimble — 
But prithee, look not pale — have at ye ! stretch out 
Thine arm with vigour and with unshook virtue. 

[Opens the vein. 
Good ! O, I envy not a rival, fitted 130 

To conquer in extremities : this pastime 
Appears majestical ; some high-tuned poem 
Hereafter shall deliver to posterity 
The writer's glory and his subject's triumph. 
How is't, man ? — droop not yet. 

Org. I feel no palsies. 

On a pair-royal do I wait in death ; 136 

My sovereign, as his liegeman ; on my mistress, 
As a devoted servant ; and on Ithocles, 
x\s if no brave, yet no unworthy enemy : 
Nor did I use an engine to entrap 140 

His life, out of a slavish fear to combat 
Youth, strength, or cunning ; but for that I durst not 
Engage the goodness of a cause on fortune, 
By which his name might have outfaced my venge- 
ance. 
O, Tecnicus, inspired with Phoebus' fire ! 145 

I call to mind thy augury, 'twas perfect ; 
" Revenge proves its own executioner." 
When feeble man is bending to his mother, 
The dust he was first framed on, thus he totters. 

Bass. Life's fountain is dried up. 

Org. So falls the standard 

Of m.y prerogative in being a creature ! 151 



no THE BROKEN HEART. 

A mist hangs o'er mine eyes, the sun's bright splen- 
dour 
Is clouded in an everlasting shadow ; 
Welcome, thou ice, that sitt'st about my heart, 
No heat can ever thaw thee. [Dies. 

Near. Speech hath left him. 155 

Bass. He has shook hands with time ; his funeral 
urn 
Shall be my charge : remove the bloodless body. 
The coronation must require attendance ; 
That past, my few days can be but one mourning. 

[Exeunt. 

Scene III. A Temple. 

An altar covered with white j two lights of virgin wax 
upon it. Recorders play, during which enter At- 
tendants bearing Ithocles on a hearse (in a rich 
robe, with a crown on his head) and place him on one 
side of the altar. Afterwards enter Calantha in 
white, crowned, attended by Euphranea, Philema, 
and Christalla, also in white; Nearchus, 
Armostes. Crotolon, Prophilus, Amelus, 
Bassanes, Hemophil, and Groneas. 

Calantha kneels before the altar, the Ladies kneeling 
behind her, the rest stand off. The recorders cease 
during her devotions. Soft music. Calantha 
and the rest rise, doing obeisance to the altar. 
Cal. Our orisons are heard ; the gods are merci- 
ful.— 

Now tell me, you whose loyalties pay tribute 

To us your lawful sovereign, how unskilful 



ACT V. SCEXE III. HI 

Your duties or obedience is to render 

Subjection to the sceptre of a virgin, 5 

Who have been ever fortunate in princes 

Of masculine and stirring composition. 

A woman has enough to govern wisely 

Her own demeanours, passions, and divisions. 

A nation warlike and inured to practice 10 

Of policy and labour cannot brook 

A feminate authority : we therefore 

Command your counsel, how you may advise us 

In choosing of a husband, whose abilities 

Can better guide this kingdom. 

Near. Royal lady, 15 

Your law is in your will. 

Arm. We have seen tokens 

Of constancy too lately to mistrust it. 

Crot. Yet, if your highness settle on a choice 
By your own judgment both allowed and liked of, 
Sparta may grow in power, and proceed 20 

To an increasing height. 

Cal. Hold you the same mind ? 

Bass. Alas, great mistress, reason is so clouded 
With the thick darkness of my infinite woes, 
That I forecast nor dangers, hopes, or safety. 
Give me some corner of the world to wear out 25 

The remnant of the minutes I must number, 
Where I may hear no sounds but sad complaints 
Of virgins who have lost contracted partners ; 
Of husbands howling that their wives were ravished 
By some untimely fate ; of friends divided 30 

By churlish opposition ; or of fathers 



H2 THE BROKEN HEART. 

Weeping upon their children's slaughter'd carcasses ; 
Or daughters groaning o'er their fathers' hearses ; 
And I can dwell there, and with these keep consort 
As musical as theirs. What can you look for 35 

From an old, foolish, peevish, doting man 
But craziness of age ? 

CaL Cousin of Argos, — 

Near. Madam ? 

CaL Were I presently 

To choose you for my lord, I'll open freely 
What articles I would propose to treat on 
Before our marriage. 

Near. Name them, virtuous lady. 40 

CaL I would presume you would retain the royalty 
Of Sparta in her own bounds ; then in Argos 
Armostes might be viceroy ; in Messene 
Might Crotolon bear sway ; and Bassanes — 

Bass. I, queen ! alas, what I ? 

CaL Be Sparta's marshal : 45 

The multitudes of high employments could not 
But set a peace to private griefs. These gentlemen, 
Groneas and Hemophil, with worthy pensions, 
Should wait upon your person in your chamber. — 
I would bestow Christalla on Amelus. 50 

She'll prove a constant wife ; and Philema 
Should into Vesta's Temple. 

Bass. This is a testament ! 

It sounds not like conditions on a marriage. 
Near. All this should be performed. 
CaL Lastly, for Prophilus, 



ACT V. SCENE III. 113 

He should be, cousin, solemnly invested 55 

In all those honours, titles, and preferments 
Which his dear friend and my neglected husband 
Too short a time enjoyed. 

Cro. I am unworthy 

To live in your remembrance. 

Enph. Excellent lady ! 

Near. Madam, what means that word, " neglected 
husband " ? 60 

Cal. Forgive me : — now I turn to thee, thou 
shadow 
Of my contracted lord ! Bear witness all, 
I put my mother's wedding-ring upon 
His finger ; 'twas my father's last bequest. 

[Places a ring on the finger of Ithocles. 
Thus I new-marry him whose wife I am ; 65 

Death shall not separate us. O, my lords, 
I but deceived your eyes with antic gesture, 
When one news straight came huddling on another 
Of death ! and death ! and death ! still I danced for- 
ward ; 
But it struck home, and here, and in an instant. 70 
Be such mere women, who with shrieks and outcries 
Can vow a present end to all their sorrows, 
Yet live to court new pleasures and outlive them : 
They are the silent griefs which cut the heart-strings ; 
Let me die smiling. 

Near. 'Tis a truth too ominous. 75 

Cal. One kiss on these cold lips, my last ! [Kisses 
Ithocles.] — Crack, crack ! — 
Argos now's Sparta's king. — Command the voices 



114 THE BROKEN HEART. 

Which wait at the altar now to sing the song 
I fitted for my end. 

Near. Sirs, the song ! 

Dirge. 

Chor. Glories, pleasures, pomps, delights, and 
ease, 

Can but please 81 

The outward senses, when the mind 
Is or untroubled or by peace refined. 
ist. Voice. Crowns may flourish and decay 

Beauties shine, but fade away. 85 

2nd Voice. Youth may revel, yes it must 

Lie down in a bed of dust. 
yd Voice. Earthly honours flow and waste, 
Time alone doth change and last. 
Chor. Sorrows mingled with contents prepare 
Rest for care ; 91 

Love only reigns in death ; though art 
Can find no comfort for a broken heart. 

[Calantha dies. 

Arm. Look to the queen ! 

Bass. Her heart is broke indeed. 

O, royal maid, would thou hadst missed this part ! 
Yet 'twas a brave one. I must weep to see 96 

Her smile in death. 

Arm. Wise Tecnicus ! thus said he ; 

" When youth is ripe, and age from time doth part, 
The Lifeless Trunk shall wed the Broken Heart/' 
'Tis here fulfilled. 



ACT V. SCENE III. 1 15 

Near. I am your king. 

All. Long live 100 

Nearchus, King of Sparta ! 

Near. Her last will 

Shall never be digressed from : wait in order 
Upon these faithful lovers, as become us. — 
The counsels of the gods are never known 
Till men call the effects of them their own. [Exeunt. 



EPILOGUE. 

Where noble judgments and clear eyes are fixed 
To grace endeavour, there sits truth, not mixed 
With ignorance ; those censures may command 
Belief which talk not till they understand. 
Let some say, " This was flat ; " some, " Here the 
scene 5 

Fell from its height ; " another, " That the mean 
Was ill observed in such a growing passion 
As it transcended either state or fashion : " 
Some few may cry, " 'Twas pretty well," or so, 
" But — " and there shrug in silence : yet we know 
Our writer's aim was in the whole addrest n 

Well to deserve of all, but please the best ; 
Which granted, by the allowance of this strain 
The Broken Heart may be pieced-up again. 



NOTES, 



NOTES. 



The text of this edition is, in the main, that of Gijford, as 
amended by Dyce. 

The heavy figures refer to the pages of the text; the lighter 
figures to the lines. 

Of the first appearance or of the success of the play, there 
is no extant account. The title-page of the original quarto is 
given in substance below : 



THE 
BROKEN 
HEART. 



A Tragedy. 



ACTED 

By the KING'S Majefties Seruants 
at the priuate Houfe in the 

BLACK-FRIERS. 



Fide Honor. 



LONDON: 

Printed by I. B. for HVGH BEES TON, 

and are to be fold at his shop, neere 

the Caftle in Corne-hill. i6}}. 



The motto, Fide Honor, appears on several other of Ford's 
title-pages. It is an anagram of his own name as he sometimes 
spelled it, John Forde. 



119 



120 THE BROKEN HEART. 

The tragedy was dedicated to ' ' the most worthy deserver of 
the noblest titles in honour, William, Lord Craven, Baron of 
Hampsted-Marshall." This nobleman who, according to Gifford, 
is ' l now chiefly remembered for his romantic attachment to the 
Queen of Bohemia, daughter of James I.," was born in 1609, gained 
considerable renown for his military exploits while yet a youth, 
and having been closely attached to three monarchs, Charles I., 
Charles II., and James II., died an earl at the advanced age of 
eighty-eight years. 

3. Ford, not always seen to an advantage in prologue or epi- 
logue writing, is here at his best. 

3:11. Comm&ce. The common Elizabethan accent. One of 
the rules for accentuation then followed is thus laid down by Ben 
Jonson : " All verbs (and nouns derived from them) coming 
from the Latin, either of the supine or otherwise, hold the accent 
as it is found in the first person present of those Latin verbs." 

3: 15. Fiction. The quarto reads a fiction. 

4. The following quaint characterization of the various person- 
ages in the play is used by Ford in the original edition. He calls 
it : " The Speaker's names, fitted to their Qualities.' ' 

Amyclas, Common to the Kings of Laconia. 

Ithocles, Honour of Loveliness. 

Orgilus, Angry. 

Bassanes, Vexation. 

Armostes, an Appeaser. 

Crotolon, Noise. 

Prophilus, Dear. 

Nearchus, Young Prince. 

Tecnicus, Artist. 

Hemophil, Glutton. 

Groneas, Tavern-haunter. 

Amelus, Trusty. 

Phulas, Watchful. 

Calantha, Flower of Beauty. 

Penthea, Complaint. 

Euphranea, Joy, 

Christalla, Crystal. 

Philema, a Kiss. 



NOTES. 121 

Grausis, Old Beldam. 

Persons included. 

Thrasus, Fierceness. 

Aplotes, Simplicity. 

5. The opening scene between Orgilus and his father, Crotolon, 
is admirable, in that we have set before us at the very outset the 
relation that so many of the principal actors in the drama bear to- 
ward one another. 

5:8. Areopagite. " Member of the highest judicial court at 
Athens. Its sessions were held on Mars' Hill." {Webster.) 

6:18. Broached. Let out, give vent to. The quarto has 
brauclit which Weber erroneously renders " transfixed." 

6:29. Converse. See 3 : 11. 

7:65. Resolve. Is determined, convinced. 

7 : 67. Sort. Come about, fall out. 

I am glad that all things sort so well. 

Much Ado about Nothing. V. iv. 7. 

8:87. Compare with Laertes' advice to Ophelia: Hamlet, 
Act I. sc. iii. Of this interview between brother and sister Gifford 
says : ' ' Orgilus seems to entertain some suspicion of Ithocles ; but 
the exaction of such a promise appears not altogether consistent in 
one who had just been describing the misery of his own suffer- 
ings from the power and influence of a brother." 

9 : 109. Contents. Contentedness, satisfaction. 

10: 118. Change fresh airs. Orgilus evidently does not believe 
in " change of air " as a cure for mental illness. 

II : 35. Ithocles, as he appears in the play, is hardly the man 
the words of Orgilus in the opening scene would lead us to expect. 
Experience seems to have tempered his ambition, and while he is 
still self-centered and masterful, it is clear that regret for his 
"pride of power" has effected a change for the better in his 
character. 

13 : 66. Provincial garland. A wreath of honor which the 
ancients bestowed upon those who added a province to the empire. 

13*83. Voicing. Proc 

14 : 89. Fit slights. Trifling, slight sendees, referred to in befit- 
tingly humble terms. Ithocles here shows a modesty that is 
scarcely anticipated after Orgilus' description of him. 



122 THE BROKEN HEART. 

16 : 134. Thrum. Weave. Thrum literally is the tufted end of 
weavers' threads. 

"O Fates, come, come, cut thread and thrum" 

Midsummer Nighfs Dream y V. 291. 

1721. Compare Tecnicus with Friar Lawrence in Romeo and 
Juliet. 

17 : 6. Aspect. See 3:11. 

18:37. Secure. Certain, sure. 

19:52. Niceness. Prudishness : viz., " in starting trivial and 
unimportant objections." (Gifford.) 

21 : 92. Tenters. A frame with hooks for stretching and drying 
cloth that has been wet or dyed. 

21 : 97. Oratory. Study. 

21 : 102. Orgilus puts on this fantastic air to avert suspicion. 
His words are not a bad satire upon the sometimes ingenious but 
always over- wrought speeches of the euphuists of Elizabeth's day. 
See Osric, Hamlet, Act V. sc. ii. 

22: 116. Mew. " A term of the schools, used when false con- 
clusions are illogically deduced from an opponent's premises." 
(Gifford.) ■ 

22 : 125. Grammates. This may be a sneering term referring to 
grammar. Taste the grammates would seem to mean "get the 
slightest knowledge of the simplest facts." 

25 : 1. It is quite possible that by exaggerating the infirmity of 
Bassanes Ford thought to throw the patience, purity, and loveli- 
ness of Penthea into stronger relief. We can excuse the drama- 
tist for the coarse language which he puts into the mouth of the 
jealous husband, knowing how the standards of our time and those 
of the seventeeth century differ, but we can hardly overlook the 
sudden and wholly unexpected change which, a little later, comes 
over this ridiculous and revolting character. The sudden transfor- 
mation from absurd jealousy to doting fondness is scarcely con- 
ceivable. 

25 : 12. Springal. Youth. 

26:26. Cull. Embrace. 

26:45. Mewed. Shed, moulted. A falconer's term. 

27 : 69. Pearls. A dissyllable. 



NOTES. 123 

29:113. Goodly gear. Matter. 

Here's goodly gear. 

Romeo and Juliet, II. iv. 107. 

30 : 125. Collops. Small pieces of flesh. 

30 : 129. Caroches. Coaches. 

31 : 134. Tympany. From the Greek word meaning kettle- 
drum. It is here used to signify a sense of confusion. 

31 : 148. Railed at the sins. The original reading which was 
changed by Gifford to " saints," and thus retained by Dyce. 

32 : 3. Seeled dove. A dove that has been blinded by sewing 
the eyelids. This wanton inhumanity was once regarded as sport. 
The dove, as described in the text, would, on being loosed, soar 
upward until exhausted, and then fall lifeless to the earth. 

32: 12. It physics not, etc., Compare with Macbeth, V. iv. 40. 

33:22. Meat. Gifford conjectures " bait." 

34: 52. Extremes. The quarto reads " extremities." 

34 : 55. Current. An expression common with the old drama- 
tists. So above, Act I. scene ii. line 84. 

35 : 80. Demur. Delay. 

37:118. Whoreson. An adjective applied not only to persons, 
but to anything, as a term of reproach or dislike. 

38 : 5. This line is slightly corrupted. Weber reads : 

To such alacrity as once his nature. 
39 : 20. It is impossible for Orgilus to disguise his admiration 
and passion even under the affected language of the schoolmen. 
Penthea, however, is not suspicious of his identity, attributing his 
words not to any subtle intention, but rather to wild vagary. 
Her whole attitude throughout this trying interview is one that 
commands the highest admiration, and awakens the deepest pity 
as well. Torn as her bosom is with conflicting emotions, it is the 
wife, to whom honor above all else is sacred, who speaks in every 
word. 

39 : 30. On Vesta s altars. A badly mutilated passage amended 
by Gifford. The original is hopelessly confused, as will be seen 
by the following : 

" As the incense smoking 
The holiest altars, virgin tears (like 
On Vesta's odours) sprinkled dews to feed 'em, 
And to increase, v etc. 



124 THE BROKEN HEART. 

41 : 76. Borrowed shape. Stock theatrical term for dress of 
disguise. 

43:124. Politic French. An amusing anachronism. 

44:133. Aches. A dissyllable. 

44 : 134. Imposthumes. Swellings, inward sores. 

This is the imfiosthume of much wealth and peace, 
That inward breaks and shows no cause without 
Why the man dies. 

Hamlet, IV. iv. 27. 

44:135. Humours. Temper. 

44 : 149. Then let us care. The quarto gives this speech to 
Bassanes, but manifestly it belongs to Penthea, being a continu- 
ation of her train of thought which is broken in upon by her 
husband. 

46: 3. Jealous. Suspicious, as frequently. 

47 : 43. Intrenching on. Trenching upon. 

49 : 1. Due praise has never been bestowed upon Ford's lyrical 
faculty. Aside from Shakespere and Beaumont and Fletcher, 
none of the old dramatists as a whole excels him. Webster wrote 
one dirge which Ford never equaled, but the latter's note is more 
natively lyrical. The song at the opening of this scene, and that 
in Act IV. scene iii., may be cited as admirable examples of his 
art. To these might be added the following from The Lover's 
Melancholy, Act II. scene i.: 

Song. 

Fly hence, shadows, that do keep 
Watchful sorrows charmed in sleep ! 
Though the eyes be overtaken, 
Yet the heart doth ever waken 
Thoughts, chained up in busy snares 
Of continual woes and cares : 
Love and griefs are so exprest 
As they rather sigh than rest. 
Fly hence, shadows, that do keep 
Watchful sorrows charmed in sleep ! 

51:33. This scene between brother and sister is one of the 
strongest in the drama. The remorse of Ithocles at the sight of 
Penthea's suffering is rendered the more poignant by the realiza- 



NOTES. 125 

tion of his own apparently hopeless love. Penthea, while she can 
not refrain from reminding her brother that he is the cause of her 
sorrows, shows her forgiving and sympathetic nature in the way in 
which she espouses his interests. 

50 : 43. Spleen. A word in much more common use in Ford's 
day than in our own, sometimes indicating impetuosity, eagerness, 
sometimes caprice, and sometimes hate or malice. 

52 : 53. Affections. Sorrows. 

53:87. Turtles. Turtle-doves. The turtle-dove was the em- 
blem of faithful love. 

53 • 93- Nearness. This word does not occur in the original. It 
was suggested by Giflord as probably conveying the idea Ford 
had in mind. 

54 : in. / sweat in blood for V. An excusable bit of hyperbole, 
considering the speaker's over-wrought state of mind. 

55 : 123. Property. " A thing quite at our disposal, and to be 
treated as we please." {Stevens.) 

Do not talk of him 
But as a property. 

Julius Cczsar, IV. i. 40. 

55:131. Progress. " This passage is not without curiosity as 
tending to prove that some of the words now supposed to be 
Americanisms were in use among our ancestors, and crossed the 
Atlantic with them. It is not generally known that Ford's 
county, Devonshire, supplied a very considerable number of the 
earlier settlers in the colonies." (Gifford.) 

55 : 144. Springal. Youthful. See 25 : 12. 

56 : 149. Franks. The figure is taken from the word " frank " 
which means a small enclosure in which boars were fattened. 

56:155. Megrims. Whims, fancies. i^Vi\f=: freaks. 

57:167. Pandora's box. Pandora was, according to Greek 
mythology, the first created female. The story of her having been 
the cause of the introduction of evil into the world is thus told by 
Anthon : " Jupiter, incensed at Prometheus for having stolen the 
fire from the skies, resolved to punish men for this daring deed. 
He therefore directed Vulcan to knead earth and water, to give it 
human voice and strength, and to make it assume the fair form of 
a virgin like the immortal goddesses. He desired Minerva to 



126 THE BROKEN HEART. 

endow her with artist knowledge, Venus to give her beauty, and 
Mercury to inspire her with an imprudent and artful disposition. 
When formed she was attired by the Seasons and Graces, and 
each of the deities having bestowed upon her the commanded 
gifts, she was named Pandora (all-gifted). Thus furnished, she 
was brought by Mercury to the dwelling of -Epimetheus, who, 
though his brother Prometheus had warned him to be on his 
guard, and to receive no gifts from Jupiter, dazzled with her 
charms, took her into his house and made her his wife. The evil 
effects of this imprudent step were speedily felt. In the dwelling 
of Epimetheus stood a closed jar which he had been forbidden to 
open. Pandora, under the influence of female curiosity, disre- 
garding the injunction, raised the lid, and all the evils hitherto 
unknown to man poured out, and spread themselves over the 
earth. In terror at the sight of these monsters, she shut down the 
lid just in time to prevent the escape of Hope, which thus re- 
mained to man his chief support and comfort." The source of 
this account is Hesiod. 

58 : 206. This line was amended by Gifford. The original 
reads 

To outdo art, and cy-y a jealousy. 

59: 13. Nearchus is a fair type of the noble suitor whose pres- 
ence is necessary for the development of the plot, but whose part 
is as difficult as it is thankless, for Calantha openly snubs him at 
the first opportunity. 

60 : 34. Marriage. A trisyllable. 

60 : 36. Tastes of. An expression that has passed from use, 
though " savours " in the same sense is still not uncommon. 

61 : 44. This meeting between Ithocles and Orgilus is exceed- 
ingly well carried out, the former really desiring to make amends 
in so far as possible for the wrong done in the past, the latter for 
his own hidden purposes veiling his hatred and appearing to meet 
his enemy halfway. 

61 : 59. Engrossed. Mastered. 

63 : 19. Condition, Disposition. 

63:21. While in the preceding speech Orgilus refers to by- 
gone injuries, it is only here that he allows his deep resentment to 



NOTES. 127 

flame forth for a moment, so complete a command has he over 
himself. 

65 : 58. Smooth. Kindly. 

67 : 7. Penthea, in this most touching scene, seems to have a 
clear presage of her impending fate. It is indeed a bold stroke, 
the " bequeathing," as she puts it, of her brother to Calantha, but 
it proves successful, as the outcome shows, though at the time 
Calantha must needs hide her real thoughts by calling in her wait- 
ing women. Penthea's plea for Ithocles is a most moving appeal 
of a noble and forgiving mind that is upon the verge of being 
forever darkened. 

68 142. Beshrew. Originally a very mild term of imprecation, 
though occasionally used in a stronger sense. 

68: 43. Thou turns' 7 me too much woman. Shakespere twice 
makes use of " woman " in the same sense : 

IVolsey. Cromwell, I did not think to shed a tear 
In all my miseries ; but thou hast forced me, 
Out of thy honest truth, to play the woman. 

Henry VIII, III. ii. 429-431. 

Laertes. Too much of water hast thou, poor Ophelia, 
And therefore I forbid my tears. But yet 
It is our trick ; nature her custom holds, 
Let shame say what it will ; when these are gone, 
The woman will be out^ 

Hamlet, IV. vii. 184-188. 

69 : 62. One of Ford's finest lines. 

72:4. lam not what you doubt me. What you suspect me 
to be. 

72 : 15. A man of single meaning. One without deceit, open, 
sincere. 

73: 21. . . . grace my hopes with any instance 
Of livery. 

That is, bestow upon me some mark of your favour. 

Gifford is of the opinion that this expression was derived from 
the fact that the retainers of great families were accustomed to 
wear badges, upon which the crests of their respective houses were 
emblazoned or stamped. 



128 THE BROKEN HEART. 

74 : 34. Orit. Of it. A common contraction more euphonious 
than of 't. 

74 : 38. Contents. See 9 : 109. 

74 : 44. Increments. Augmentation, increase. 

75 : 69. As a punishment for his temerity, Ixion was hurled by 
Jupiter into Erebus, and there fastened to- an ever-revolving 
wheel. 

76 : 82. Your. An appelative. 

76 : 87. Fustian. The word here has a meaning akin to smooth- 
ness. Velveteen is sometimes called "fustian," hence, perhaps, the 
figure. 

76 : 88. Less. This word does not occur in the quarto. It was 
inserted by Gifford as necessary to the sense. 

77 : 102. Colt. This was a term not infrequently applied in 
Ford's time to those in whom rudeness and folly were combined. 
It is quite possible that the dramatist may here have had in mind 
some tapestry, or " painted cloth/' upon which he had seen repre- 
sented the very figures he mentions. 

77: 116. " The extraordinary success with which the revengful 
spirit of Orgilus is maintained through every scene is highly credi- 
table to the poet's skill. There is not a word spoken by him 
which does not denote a deep and dangerous malignity, couched 
in the most sarcastic and rancorous language. The bitterness of 
gall, the poison of asps, lurk under every compliment, which noth- 
ing but the deep repentance and heartfelt sincerity of Ithocles 
could possibly prevent him from feeling and detecting." (Gifford?) 

77:118. Suppling. The quarto has supplying. At best the 
figure is somewhat confused. 

78 : 120. The hurts are yet but mortal 

Which shortly will prove deadly. 

Gifford is of the opinion that for "yet but" we should read 
"yet not." If, however, we take "mortal" in the sense of 
" serious " such a change will not be necessary. 

78:126. Saw. Saying. 

78 : 141. I am not CEdipus. The reference here is to the solu- 
tion by CEdipus of the riddle propounded by the Sphinx which 
Juno had sent to ravage the territory of Thebes. For the story of 
CEdipus in full see Greek mythology. 



NOTES. 129 

80:14, 15. Honeycomb of Honesty, Garland of Good-will. 
Popular miscellanies containing stories, anecdotes, and songs. 
The latter appeared in 1631. 

80: 17. Moil: Mule. 

80 : 24. Quintessence. A term much used by alchemists. The 
fifth essence which the Greeks who were followers of Pythagoras 
added to the four recognized elements, fire, air, water, and earth. 

81 : 54. Practice. Try my patience. 

81 : 58. This scene should be compared with Ha?nlet, Act. IV. 
scene iv. 

82 : 69. Dyce thinks there is a slight corruption in the text here. 
82:71. Turtle. See 52: 87. 

83 : 99. Whining gray dissimulation. So Milton in Paradise 

Regained : 

He ended here ; and Satan, bowing low 
His gray dissimulation — 

83 : IOO. Show justice, etc. Orgilus here loses control over his 
feelings, and shows openly the intensity of his hatred, though 
Ithocles appears to think the words are addressed to Bassanes. 

83:103. Antic rapture. Foolish passion. Possibly there may 
be some reference to the stage rant of the jealous husband or 
lover. 

83:105. Motion. Puppet, image. 

84 : in. My heart too. A corruption in the text, one or more 
lines having been dropped. 

84:119. Points. Tagged laces. 

84 : 125. This line shows that whatever Orgilus may have had 
in mind up to this time, however he may have hesitated, all 
doubts and scruples, if he entertained any, are cast aside. From 
this point he is settled in his deadly determination, and there is no 
wavering in his line of action. 

85 : 144. 0, my wrecked honour, etc. Though one may not alto- 
gether agree with Gifford's view, his comments upon this speech 
of Penthea's are not without interest. " The transition of Pen- 
thea from the wandering insanity which had marked the previous 
part of her discourse to the deep but composed melancholy of 
what follows, is surely too sudden and may seem to throw some 
suspicion on the reality, not of her sufferings and despair, for 



13° THE BROKEN HEART. 

these are too strongly marked for doubt, but of her abberration of 
mind ; and indeed it cannot be concealed that this lovely and 
interesting woman has a spice of selfishness in her grief, and 
approaches somewhat too nearly to Orgilus in the unforgiving part 
of his character. Even her last words are expressive of resent- 
ment. " 

89 : 6. Delphos. The oracle at Delphi was one of the three most 
celebrated in Greece, and was consulted upon all important occa- 
sions. The oracular responses were delivered by the Pythia 
(priestess) after she had inhaled the vapor arising from the sacred 
cave or fissure. The customary ambiguity of oracular prediction is 
well preserved by Ford in the prophecy that follows. In order 
that the veracity of the deity might not be impeached, the priest 
(or priestess) took care that every statement made by the oracle 
should be susceptible of a double meaning. 

94:129. Ithocles is too wrapped up in his own happiness to 
dream of anything save perfect frankness and friendliness in 
Orgilus, who, in this scene, with great subtleness draws his 
doomed enemy into his toils. 

95. The engine mentioned in the stage directions was simply an 
ordinary chair to which two movable arms were attached. Ford, 
like the author of The Devil's Charter, Barnaby Barnes, who 
employs the same mechanism, doubtless got it from one of the 
tales of the Italian writer Bandello. 

97 : 25. Ford's mythology here is apparently of his own inven- 
tion. The sisters of Phaeton, three (or seven) in number, were so 
grieved at the death of their brother that they were changed into 
poplars on the bank of the river into which the ill-fated youth fell. 

97 : 29. Turtle. Turtle-dove, as before. 

97 : 39. The courage with which Ithocles meets his fate is as 
truly Spartan as the heroism of Calantha in the following act. 
The contrast between his calm acceptance of death and the bit- 
terly revengeful spirit which Orgilus has up to this point har- 
bored is a fine stroke on Ford's part. Ithocles in a moment is 
transformed into a hero, and we see him towering over his exe- 
cutioner in nobility of character, forgiveness putting revenge to 
shame. 

97 : 42. Tent. Widen, probe. 



NOTES. I3 1 

100:13. Splay-footed. Spread-footed, having an abnormally flat 
foot. Some of the omens here enumerated were, in Ford's time, 
held in superstitious dread not only by the ignorant but also by the 
more learned. 

IOI : 36. Index. The index hand ( ft^* ) which was often used 
upon the margin of old books to call special attention to some 
passage or paragraph. 

IOI : 42. Resolute. Assured. 

102. Hazlitt is of the opinion that the second scene of this act 
was suggested by the mask scene in Marston's Malcontent. 

105 : 48. Abiliment. Ability. 

105 : 49. Fie, Orgilus ! The word y£? must formerly have had a 
stronger meaning than at the present day else this exclamation, 
and the one which follows, would be nothing short of ridicu- 
lous. 

105 : 54. Convinced. Refuted. 

107 : 100. " In performing the operation of bleeding, formerly 
so common, the arm was bound above the spot selected in order to 
distend the veins. For the same reason the patient grasped a 
staff." {Ellis.) 

108 : 109. Fillet. An unusual but striking use of the word. 
108 : 109. Grammercy. Literally many thanks. (F. grand- 

?nerci.) An exclamation usually indicative of surprise. 

109 : 125. Broached. See 6 : 18. 
109 : 142. Cunning. Skill in arms. 

110:155. The dignity with which Orgilus meets his end can 
hardly fail to command our respect, if not our admiration. How- 
ever much we may censure him for his malignant and unforgiving 
spirit, when once his revenge is accomplished his demeanor takes 
on a tinge of something exalted. 

1 10. The recorders mentioned in the stage directions for the 
third scene of this act, were instruments similar to the flute. 

"Ho not know where to find in any play a catastrophe so grand, so solemn, 
and so surprising as this [of The Broken Heart]. This is indeed, according to 
Milton, to ' describe high passions and high actions.' The fortitude of the 
Spartan boy who let a beast gnaw out his bowels till he died, without express- 
ing a groan, is a faint bodily image of this dilaceration of the spirit and exenter- 
ation of the inmost mind, which Calantha with a holy violence against her 
nature keeps closely covered, till the last duties of a wife and a queen are ful- 



132 THE BROKEN HEART. 

filled. Stories of martyrdom are but of chains and the stake ; a little bodily 
suffering ; these torments 

On the purest spirits prey 

As on entrails, joints, and limbs, 

With answerable pains, but more intense. 

What a noble thing is the soul in its strength and in its weaknesses ! Who 
would be less weak than Calantha ? Who can be so strong ? The expression 
of this transcendent scene almost bears me in imagination to Calvary and the 
Cross ; and I seem to perceive some analogy between the scenical sufferings 
which I am here contemplating, and the real agonies of that final completion 
to which I dare no more than hint a reference. 1 ' 

— Charles Lamb. 

u Of all last scenes on any stage, the last scene of this play is the most over- 
whelming in its unity of outward effect and inward impression. Other tragic 
poems have closed as grandly, with as much or more of moral and poetic 
force ; none, I think, with such solemn power of spectacular and spiritual 
effect combined. As a mere stage show it is so greatly conceived and so tri- 
umphantly wrought out, that even with less intense and delicate expression, 
with less elaborate and stately passion in the measure and movement of the 
words, it would stamp itself on the memory as a durable thing to admire ; 
deep-based as it is on solemn and calm emotion, built up with choice and 
majestic verse, this great scene deserves even the extreme eulogy of its greatest 
critic." 

— Algernon Charles Swinburne. 

114: 82, 83. Lines four and five of the Dirge, which deserves 
considerable praise, were slightly amended by Gifford. 



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